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FURNITURE 
of the 
PILGRIM CENTURY 


(OF AMERICAN ORIGIN) 


WORKS BY THE SAME AUTHOR 


““AMERICAN WINDSORS,” 208 pages 54 by 7 in. with 22 
added pictures 
The above is the only work on the subject. 


STATES BEAUTIFUL SERIES 
Each 304 pages, 7 by Io in., 304 illustrations 


Already Published 


New HampsuHirE BEAUTIFUL 
VERMONT BEAUTIFUL 
MassacHUSETTS BEAUTIFUL 
ConnEctTicuT BEAUTIFUL 


In Preparation 


PENNSYLVANIA BEAUTIFUL (Eastern) to issue 1924. 
Ouro BEAUTIFUL to issue 1924. 

MaIneE BEAUTIFUL to issue 1924. 

New York BeautiFut (Eastern) to issue 1924. 
Montana BeautiFuL (With National Parks) 
WASHINGTON BEAUTIFUL 

FioripA BEAUTIFUL 

Tue Ciock Book to issue 1924. 





FURNITURE 
of the 
PILGRIM CENTURY 


(OF AMERICAN ORIGIN) 
1620-1720 


WITH MAPLE AND PINE TO Zs&oo 
INCLUDING COLONIAL UTENSILS 
AND WROUGHT-IRON HOUSE HARDWARE 
INTO THE rgoTH CENTURY 


BY 


WALLACE NUTTING 


ILLUSTRATED WITH MORE THAN FIFTEEN HUNDRED EXAMPLES 


COMPLETELY REVISED 
AND 
GREATLY ENLARGED 


OLD AMERICA COMPANY 
PUBLISHERS 
FRAMINGHAM MASSACHUSETTS 


G 





To 


HENRY WOOD ERVING 
WHO EARLY DISCERNED THAT THE 
STRENGTH AND BEAUTY OF 
PILGRIM FURNITURE 
WAS AN EXPRESSION OF 
PILGRIM CHARACTER 


=4/= 
” 


t— 


a tad 





EXPLANATORY 


Tus work, like the first edition, is essentially confined to American 
furniture and minor articles. Greater care has been taken in this 
edition to exclude pieces of doubtful American origin. The few excep- 
tions to this rule are noted in the text. 

The first edition being exhausted the author was faced with the ques- 
tion whether to reprint or revise. The publication of the first edition 
elicited information of the existence of many previously unknown but 
important pieces. For instance, a court cupboard of supreme interest 
was called to the attention of the author by the owner. It had never 
been known to the public. By one means or another so much material, in 
regard to interesting articles, came to the attention of the author, that 
it appeared to be wiser to undertake a complete new edition. Practically 
every page has been rewritten and about six hundred additional articles 
have been illustrated so that the total number shown, numbered and un- 
numbered, approaches two thousand. Many articles appearing in a decora- 
tive form as, in one case, about a hundred pieces of pewter on an open 
dresser are not taken account of and are not even referred to again. We 
have thought it wiser to pass over the partial consideration of any class of 
subjects, and to treat in a very full manner those classes called for in 
our title page. Thus in the matter of iron: cast iron, though certainly 
used more or less for five hundred years, is shown in only one or two 
examples. 

As there appear to be no known American clocks of the Pilgrim Century, 
or at least not enough examples to merit treatment here, it has been thought 
best to exclude all clocks, leaving that class of objects for possible treat- 
ment in a separate work. 

Advantage has been taken of the opportunity to make a few corrections 
and to omit a few pieces which, owing to their similarity to others, or for 
other competent reasons could be spared. It should not, however, be 
inferred that the omission of any piece casts a reflection on its authenticity. 

Greater attention has been paid to dimensions, to dates, and to the 
woods employed. The matter of ownership has been brought up to date 
so far as feasible, but the articles in the owner’s collection are not, in the 
text, so designated. The curious may find them in the index. Some 
owners reserve their names. 


8 FURNITURE OF THE PILGRIM CENTURY 


All classes of subjects shown have been much increased in number. 
This is especially true of court cupboards, pine cupboards, chests and, 
most of all, of hardware. Here the additions are so numerous that they 
outnumber the old subjects many fold. In this department of the work 
almost every one of the objects shown is in the collection of the author 
or those of his friends. 

Since so much English furniture has been coming to America, and so 
much study has been given to English works on the subject, the opinion 
had been pretty generally established that, so far as grace and charm and 
quaintness are concerned, American furniture before the mahogany period, 
in the turned styles at least, surpasses the old world patterns. Never 
before have exclusively American collections been so desired. 

The author makes no pretence to exhaustive knowledge, and where 
any article is referred to as unique or as one of two or three of its class 
known, he would be understood as limiting these statements to his own 
or his friends’ knowledge, as of the date of issue of this edition. 

The increase of interest in the subjects treated has been startlingly 
rapid. A score of years since one might have gathered up most of the 
good old iron in America, and have been thanked for carrying it away. 
Yet this iron is now felt to be almost as important in giving a house the 
feeling of the period as the furniture itself, particularly if we take into 
account the fixed, as well as the lighting and fireplace hardware. 

The best pieces of American furniture are certainly cherished as highly 
by us as are the best pieces abroad. Possibly this would be true irrespec- 
tive of the comparative intrinsic merits of American and foreign articles. 
We want what our own ancestors made and used. It enriches life, and 
gives us the aroma of a past which is most delightful in retrospect, what- 
ever may have been its strenuous reality. That which has been handled 
and used by six, seven or eight generations of our ancestors, is in a manner 
sacred, so that we avoid any financial appraisal of it. We think of it in 
terms of affection. The great war has stimulated our attention to it and 
enhanced our regard for it. 

The great number of new plates and the increasing costs of material 
and labor, have worked hardships in the matter of books. But the pub- 
lishers are to issue this work at the same moderate price as the first 
edition, encouraged by the reception of the first edition. Indeed, those 
who really know the extent of the labor required in this volume will also 
know that it is issued primarily as a labor of love. 


Watiace NuttTInG 
FRAMINGHAM, MassAcHUSETTS 


CONTENTS 


The references are to text pages only 


PAGE 
ee tne bss wascebiniecues 17 
INES er 117 
Bee i dace Soke be ase ee 130 
Meme RAMES (mall)... 0. oi. cee cee ve eee cca ees 147 
Sememsie or Desk). 2 fb a hk ae cece nee ces 160 
Meee AND OESKS 2 he hed ee le eet ewe eae 179 
RETRO TTEt te i a Like wes wate s 190 
ereosepey tine, Walnut, etC.). 2... 0-2... ee cae eee 247 
I Ae hl ne oe ee ben wa Ralee te 277 
ECO cir) is hake lc tgs wiles Sod dw os 278 
Penomeirtined Fuori) 21 ke ee eh es we ees 282 
Pers (late 17th and Early 18th Centuries)............... 318 
PEPRMMSPMEVIVANIA) 0 6.0.5. kc ten cece ease ehsewsavess Baer 
RePammen rearvicd OF METOUEd ol. oe ved eee te vees 348 
We CEPT ANCOUS Oo) fice. Eo Ph eee da ed eha ane 359 
©. 2 tah RE ee a 388 
Prameise DS OETTEES AND SETILES..... 0.20000 ce cnc bee nce 399 
ne ee i i hes us bane Pods acd emake 420 
EE en se eee Ds a ve kas Ao ee 436 
MRE P Re fc 10 hoe spd aes cera ee ee od SEA 450 
Peemectory On COMMUNION LABLES. ¢.....00 50+... 00000-2> 454 
ERATOR oe ns ies sw ater | 8a cae ew a 495 
PINE Ee hh acai wo Ee es et ob datas isp 
MU RPPONSTRUMENTS 05. 05c 0) suka ewes sacs beeen de md as 547 
RE MET Sar Me Hee ibe tick sak bk Ake mek las 548 
Memroemrver Dressing lables) 225 osc Sck sca wows cone ebm abs a 554 
MOV AUDE SO yes chy kee Rasen us Uiaty ce ene tee oe 566 
ERPEEEIR URN Sel tte erates Matte Ghee hy Re ee Se ad 582 
TET CAUNLA GSES | Pon ee Me et ota Lee hes fai ask ye ane Sere eS 608 
(AEE od Se seers. bain Sse ne ee Ue a eros) Ae ha nete cD 648 
BMREU GET RONMT SSC marl un eins, Lee nies ete es te 651 
MieEEODS) OF COLLECTING 1.140 >. outa a eae ees Siok Seen 679 








F URN ITURE 
of the 
PILGRIM CENTURY % 


(OF AMERICAN ORIGIN) 








1. An ARCHITECTURAL CHEsT. 1640-60. 








2. Enp or CHEsT. 3. Env or Court Cuppoarp. 





4. A Carvep Oak CuEst. 1650-70. 





5. A Carvepo TuHree-PaneL Oak CuHeEstT. 1650-70. 





ease 


—70. 


ELED Lip Cuest. 1650 


ED Oax Pan 


A Carv 


6 





Ca deviate ce! 


1660-70 


wiTH ‘“‘ Rope” Carvine. 


HEST 


O 


Oak 


AN 


™~ 





8. A Carvep Oak Four-Pane. Cuest. 1660-70. 





g. A Carvep Oax Five Panex Cuesr. 1660-70. 


Furniture of the Pilgrim (entury 


CHESTS 


Cuests are the first form of furniture. We dig them out from 
Egyptian tombs. Even nomads find the need of chests, which mark 
the beginning, indeed, of a settled civilization. The word chest is of 
extremely ancient origin and in the Greek it is precisely the same as the 
form still heard among country people, chist. Cyst and encyst are of the 
Same source and meaning, as is also chest applied to the human body. As 
ordinarily used, the word refers to a wooden receptacle with a lid. In its 
European form the chest was first an ecclesiastical appurtenance for the 
storage of sacred vessels. Indeed the ark of the covenant among the 
Hebrews was a chest. The use of the word tabernacle in conjunction with 
a small sacred receptacle is an interesting side light, since it also is applied 
to furniture. 

The first known carving upon furniture was done on chests, some of the 
quaintest of which are still found in the churches of the old world. In the 
middle ages the nobles used chests for their valuables and clothing, and it 
was a custom for a king in his progress to carry chests with him. The use of 
the word box in England for our trunk is a curious survival of that ancient 
custom. It was a symbol of respectability and thrift to own a good chest. 
The custom of providing a young lady with a hope or dower chest marked 
the solid beginnings of her home life. The loose custom of applying the 
word dower to small chests-on-frames as special designation is wrong. 
Probably most dower chests were initialed and sometimes carried the initials 
of both husband and wife. There is no manner, however, of assuring our- 
selves that any chest is a dower chest, though the carving of interwoven 
hearts or of double initialing is usually to be regarded as the mark of a 
dower chest. As any family advanced in worldly gear it added to the num- 
ber of its chests. 

While chests vary greatly in size they most often perhaps approximate 
a length of forty-eight, a hight of thirty, and a depth of eighteen inches. 

17 


18 FURNITURE OF THE PILGRIM CENTURY 


That is, the proportions are about eight by five by three. This would hold 
approximately for chests with one drawer. There are those who claim 
that a very nice and precise proportion was maintained in the dimensions 
of the chests and of all its panels, but this seems somewhat fanciful. The 
theory may have some basis when applied to a chest with a strictly archi- 
tectural front. 

While the chests of the wealthy were often carved with great elegance 
and elaboration, the poor, who also required chests, used the simplest forms, 
even the board chest perhaps dating back beyond the seventeenth century. 

The early styles of chests were, like all things artistic, derived mostly, 
so far as we are concerned, from Italy, whence, through France, Flanders 
and Holland, and sometimes from Spain, those styles came into England, 
and at length in restricted and special forms were adopted in America. We, 
however, retain only the slightest reminiscences of Romanesque and Gothic 
shapes. We derive some painted styles from middle Europe, especially 
Moravia. For the most part the carving done in America was flat, linear or 
peasant carving, terms interchangeable in common use. Carving in the 
round or bas-relief is exceedingly rare among us. Indeed, possibly a dozen 
instances will cover all American examples. 

We recognize that such peasant carving is a marked, even perhaps a 
complete degradation, from the forms of the middle ages. America was 
founded when a decline in the arts had already set in. We must, therefore, 
regard American furniture with mixed sentiments. Probably our taste 
for the quaint and our love for what our own ancestors left, and the 
admiration which we have for a people who paused in a wilderness to 
embellish their households, form a stronger stimulus for the American 
collector than any elements of pure art which are found in antique furniture. 

With the going out of carving, and in conjunction with its later phases, 
came in the addition of applied ornaments, until, in the mid-eighteenth 
century, the artistic instinct had so far faded, that we reached a point where 
the merest molding was the only survival of decoration on chests. 

The material of the earliest American chests was oak, in accordance with 
English traditions. But very quickly pine lids were introduced. The 
abundance and the size of “ pumpkin ” pine should have been, it would 
seem, an early and irresistible temptation. But curiously enough the pine 
adopted was the hard or yellow pine so largely vanished now from our 
local forests. The hard pine was almost as heavy and difficult to work as 
the oak. Following the use of it in lids it quickly came into use in panels 
and bottoms. 

It is not until the eighteenth century that we begin to see much of the 
soft or white pine used, and then it is principally found in the board chests 


FURNITURE OF THE PILGRIM CENTURY 19 


which have no claim upon our attention, unless they are in some manner 
decorated. 

The joined, that is the mortise and tenon frame panels, is always the 
mark of good cabinet furniture in any age. The cabinet work of American 
chests seem to be not at all inferior to their English prototypes. The use 
of the draw bore pin to secure tight joints was first publicly noticed by Lyon 
in his invaluable pioneer work. The method consists in so boring the holes 
in the rails and the stiles that they shall not absolutely coincide but that 
the hole in the rail shall be nearer the shoulder of the tenon, so that the pin 
when driven shall draw the rail to form a very close joint with the stile. 
Thus an old pin, withdrawn, often shows in a crooked form. These pins 
are of white oak. 

It is probable, at first, that the joiner was the same person as the 
cabinet maker. That is, the word carpenter is far less common in that time. 
The same person erected a dwelling and built its furniture. We have known 
such instances as late as 1800. The mechanic specially engaged as such by 
the Pilgrim Fathers was John Alden, who was followed by Kenelm 
Winslow in 1639. We shall have occasion later to refer to chests and cup- 
boards which one or the other of them probably constructed. 

The first chests were mere boxes without a drawer, and were therefore 
most inconvenient. The use first of one drawer, then of two and three, 
and finally the transition to a chest-of-drawers was easy. We do not won- 
der that the use of the chest went out. The peculiar features of the Ameri- 
can chest, which distinguish it from its English cousin, are the simplicity of 
its hinges, the use of wood instead of iron for drawer handles, the usual 
presence of pine in some part, this last feature not being conclusive. The 
method of joining is by some regarded as a distinguishing feature but we are 
frank to say that we are not quite able to feel certain about this difference. 
Even as regards the oak there are those who are quite ready to distinguish 
between the American and English sort. It is usually easy to discern the 
difference in the oak. But when our best judges are at variance as to the 
very species of the wood, how much less able are they to separate, in every 
case, varieties of the same species? A very keen judge once mistook chest- 
nut for plain oak. We do not mean to indicate scepticism on our part. We 
can only say that the best people are sometimes mistaken. The difference 
in color between American and English oak is not always conclusive. The 
English examples are sometimes as light as our own. Further, English 
oak is often as strongly featured as our own. Ordinarily, oak exposed to the 
smoke of an English apartment for several hundred years will be more 
or less creosoted, and of course dark. So far has this process gone that 
the term black oak is a common and apt description of that wood as seen in 


20 FURNITURE OF THE PILGRIM CENTURY 


English dwellings and furniture. To us it seems most sombre and alto- 
gether unattractive. The very late introduction of chimneys, and the 
discovery by an American, Count Rumford, of a method for preventing 
smoky chimneys are circumstances which have freed us from black oak. 
The American Indian, had he constructed chests, would soon have seen on 
them a complexion properly smoked by his wigwam. 

There is a powerful, insidious, sentimental and prideful tendency to in- 
duce us to regard a piece of furniture as American. Its native origin makes 
it more attractive from every standpoint, even the pecuniary. But in a 
work of this kind certainly we cannot afford to lean toward judging a 
piece to be American unless we are obliged to do so’ This position is an 
amusing shift from that of a few years since, when everyone who had a 
piece of old furniture was inclined to refer it to an English origin. Thus 
even now we find on Connecticut chests and Pilgrim cupboards, no trace 
of the style of either of which we find in England, labels affixed declaring 
that these pieces were brought over by English ancestors, if not in the 
Mayflower then in the Anne. But even in some recent instances the age of 
Anne has of necessity been repudiated. Almost as we write a chest of 
drawers with lapped joints has been in good faith represented to us as 
brought over by John Alden, and it is still in a family of his descendants. 
There are a few Americans who possess a sort of insight into the origin of 
furniture. This insight arises from long association with English and 
American examples, and is usually trustworthy. Unhappily, it is circum- 
stantial evidence that we are, as a rule, obliged to follow. Only one or 
two of the makers of American seventeenth century furniture have been 
surely connected with the specimens they have left us. Traditions are un- 
satisfactory. It is easy to trace the process of their formation. A father 
may tell his son that a certain heirloom belonged to his great grandfather, 
and was probably handed down from their pioneer ancestors, and that per- 
haps he brought it from England. The next generation changes the perhaps 
to a probably and the generation following omits the probably. It is not 
a conscious misrepresentation. Indeed, the origin of traditions is often 
creditable to those through whom they are handed down, even when such 
traditions are not reliable. Documentary evidence is almost wholly lack- 
ing. Even when we find writings referring to furniture it is only by 
inference that we can connect a particular piece of furniture with the writ- 
ing. Before the age of photography we lacked an easy and immediate 
method of connecting a piece of furniture with the comments upon it. In- 
deed, at the present time there is a loose method of referring to furniture in 
writings which are not directly connected with the objects described. The 


FURNITURE OF THE PILGRIM CENTURY 2% 


only precise method is to write legends directly upon the photograph of the 
piece concerned. 

We are subjected to further difficulties in the establishing of authen- 
ticity in furniture by the repairs, wise or unwise, generally the latter, which 
have been made. More often than not the lid of an ancient chest wears 
out or splits and is replaced by a new one, so that we cannot certainly 
know whether the original lid was pine or oak. The old clinch or staple 
or cotter pin hinges, words which describe the same thing, are often replaced 
by modern, or at best by a different style of hinges. New panels and new 
pins are inserted. New bottoms are placed in the chest or its drawers. 
The legs are pieced. Sometimes the decorations or the moldings or the 
applied ornaments are restored or even hopelessly changed. This work 
is not always done by the unscrupulous. Our attention has recently been 
called to what would have been a remarkable court cupboard, the door of 
which has been replaced by a glass front! Its shelf also has been replaced 
by a marble substitute! Yet the piece is in the hands of the original family 
of owners who claim to cherish it with the utmost veneration. They would 
not part with it under any consideration nor would they let it alone. 

We are using chests, the first great class in furniture of which we treat, 
as an opportunity for mentioning these difficulties which occur in our 
estimate of all alleged antique furniture, for in all classes of objects we 
meet the same principle. We find recently painted or varnished or wrongly 
restored pieces to such an extent that their value as examples is mostly lost. 

Chests usually appear with three panel fronts. The four panel front 
is exceptional and the five panel front is very rare. The ends of the chests 
according to merit, age, or style, are arranged in one or two or more 
panels either sunk or raised. The backs of good pieces are mostly paneled. 
The legs of a chest are in earliest examples simply continuations of 
their corner stiles. These legs originally extended below the body of the 
piece from seven to eight inches. A present length less than those dimen- 
sions is almost invariably to be accounted for by cutting or decay. Pieces 
late in the seventeenth century often terminated in ball feet, which were 
not as long, but varied from three to perhaps four inches. In some 
instances the ball feet were applied on somewhat shortened stile legs. In 
most cases the ball feet were applied directly to the body of the piece by 
boring a round bottomed hole into the corner of the frame. A square bot- 
tomed hole indicates a modern auger rather than the ancient pod bit. The 
lids of chests when not attached by the clinch hinges were secured by cleat 
hinges. These were in the form of cleats fitted under the end of the lid 
where it projected beyond the chest. This cleat gradually widened towards 
the back, was bored, and attached to the body by a wooden pin. The 


BD FURNITURE OF THE PILGRIM CENTURY 


cleats were ordinarily oak even when the lid was pine. The projection of 
the lid beyond the cleat was slight. Where there was no cleat the pro- 
jection usually varied from three quarters of an inch to an inch and a 
quarter on the ends and on the front. Behind, the lid was sometimes 
flush and sometimes overhung, in such a manner that when it was raised, 
the overhang formed a stop to prevent the lid from falling back too far. 
The edge of the lid on the ends and the front, but almost never on the back, 
was finished in what is popularly called the thumb nail mold. In a few 
instances, however, the front and rarely the back has a somewhat more 
complicated mold with a bead or two, and the ends are left plain or they 
are finished with gouge carving. Two or three instances are known 
of paneled top chests which claim an American origin. There are a con- 
siderable number of instances of original plain oak tops. The great 
majority of original tops are yellow (hard) pine. In this volume the 
words yellow and hard as applied to pine are considered as interchange- 
able terms. 

All the legitimate shapes of chest hinges known to the author are 
shown later in this work. So far as we have noted the strap, or strap and 
T hinges, are confined to the Pennsylvania chests of walnut or pine, or to 
the New England chests of pine. Even in this last instance the hinges are 
more likely to be mere cotter pins. 

The usual practice in the making of chests was to rive not only the rails 
and stiles but often the panels. This method secured greater strength, be- 
cause if a stick of oak would not split smoothly it was rejected. It was 
also far easier to rive than to saw. Our ancestors did not always do work 
in the slowest and the hardest way, although such an impression has their 
strenuous life made, that some authors seem to presume that the fathers 
preferred a hard way to an easy one. The riving of the wood is often ap- 
parent yet, on the unfinished interiors of the rails or stiles, and is quite 
frequent on the backs of the panels, and the under side of the drawers. 

The oak used is referred to as white in all works that we have seen. 
We have, however, repaired with red oak certain chests, and the applied 
portions, of old wood of course, had precisely the texture and the color 
of the original. Red oak is easier to work than white oak, since its grain 
is more open. White oak is stronger, and better, and for practical purposes 
we may consider the early furniture as constructed of that wood. 

The use of pine panels in the back came in very early, and in the case 
of cupboards this remark applies to the fronts as well. In the chests, 
pine panels seem to have been a little later on the fronts. There is no 
fixed rule of practice in this matter. Both customs existed side by side 
until finally the age of oak passed out entirely. 





1660-70. 


A Carvep Oax Four Panext Cuest. 


10. 


Bee OME SB potitiemcniinnnl Re *& 





1660-80. 


PaneEL CHEST. 


An Oak Turee-Tu.ip 


I. 


I 


SSS ee 





wk ARES a alms AN dina aa anche leca .ia 





Ate Sik SEBE  aS ana thi 





12. A Carvep Oak Tuuip Cuest, 1660-70. 





13. A Patm-PaNnEL CHEsT. 1650-70. 


FURNITURE OF THE PILGRIM CENTURY as 


The drawer was usually constructed with a solid one piece front. The 
drawer ornamentation was by applied moldings. Sometimes this application 
extended so far as to divide even a narrow drawer into minute false 
panels. The drawer ends were usually of oak and always grooved to fit 
oak runs which were secured to the frame of the chest by mortise or nail 
or both. The lack of the grooved end is, broadly speaking, a mark of 
eighteenth century work. The bottom and the back of the drawer may be 
of pine or rarely oak. But the drawer bottom is not attached in the 
eighteenth century style by being driven into a groove panel-wise, in the 
earlier examples, but is nailed on to the bottom, the drawer front 
being rabbeted to receive the bottom boards so that they shall not show. 
We give elsewhere an illustration of a drawer end, but would remark here 
that the earliest drawer construction showed no dovetailing. The drawer 
end was nailed against a rabbet. The first dovetailing appears, however, 
before the seventeenth century ends. This early dovetail is very broad 
and totally different from the numerous small dovetails which followed. 
The back of the drawer is usually nailed on in an absolutely plain form, 
the groove of the drawer end cutting through it also. The drawer bottoms 
vary in thickness. They may be an inch or more in the very earliest pine 
forms, and they may fall to a half inch. They often resemble, when of 
pine, a surface very like a shaved pine shingle. One should carefully 
note that the use of nails, so usual in drawer construction, was confined 
exclusively to that portion of the chest, which was otherwise constructed 
always entirely with pins of wood. In fact, this method of construction 
continued well into the nineteenth century and is not a mark of great age. 
The pins were square or roughly octagoned. In no instance has one been 
found turned. The figure of the oak was quite generally quartered, and 
this figure too often shows on carved surfaces. On such surfaces, to avoid a 
confusion of ornament, it is always better to find plain oak. We always 
prefer it although we by no means generally find it. Nor is the absence 
of plain oak in panels in any way a detriment ‘to a piece as an antique. 
The chest usually contained a till of oak or pine molded on the edge of 
the lid in the same manner as the chest lid. The till lid is frequently 
made with smal] dowels, portions of the solid wood, as hinge pins, so that 
the lid put in place, as the frame was driven together, was henceforth 
permanently fixed in position. An instance comes to our attention of a 
little drawer beneath a till. Sometimes the till itself is decorated with 
die stamping and, in one instance that we recall, by a date so stamped. 

The earliest chests had no drawer, but America was scarcely settled 
before the one drawer chest came in. The two drawer chest is very 
frequent. The chest with three drawers is very rare. Cabinet makers 


26 FURNITURE OF THE PILGRIM CENTURY 


seemed to reason that if they were to go so far as to make three drawers 
it was as well to make a complete chest of drawers. 

The locks of chests were usually attached on the interior. Most of 
such locks are lost. Their origin will be discussed later. We leave to 
particular chests the treatment in detail of the carving, the molding and 
the applied ornaments. 

Chests are rarely found, as far as we know, with handles, except in 
the form of the seaman’s chest of pine. Handles are restricted, usually, 
to two part chests of drawers or table cabinets. 

The chest in its usual form, or as a miniature, to be used for valuable 
papers or a Bible, was the article of furniture most likely to be imported. 
It could be brought to America containing linen or apparel, and thus could 
be stowed in the hold without occupying much additional and valuable 
cargo space. There are apparently a few such pieces still left to us. 
Possibly a box at the Marblehead Historical Society, and. others at Pilgrim 
Hall, Plymouth, and two or three chests, came over on the first ship or in 
one of those that followed within two or three years. 

As to methods of construction, when the difference between English 
and American work is pointed out, we need to remember that at the very 
first this difference was negligible. It became wider with the passing years. 
It may have required fifty years to establish a distinct American type 
of construction or ornamentation. This difference arose partly from 
materials at hand, partly from the exigencies of the colonists, and partly 
from the natural variation that would arise on separation from the parent 
stock. 

By 1700 pine became common as the principal structural wood in New 
England, while walnut, followed by pine, came in at the same period in 
Pennsylvania. When we speak of Pennsylvania we refer to the general 
type which existed on both sides of the Delaware River, and which is 
found to a considerable degree in New Jersey. The southern types of 
seventeenth century furniture are so rare that we can scarcely generalize 
upon them. The Dutch types proper are those contiguous to the Hudson 
River and are to be distinguished from the Pennsylvanian or German 
types, often loosely called Dutch. 

Although the love for carving seems inherent in Hollanders, chests 
by them in a carved form are exceedingly rare. They were fond of 
painted decoration also, and nearly all our painted furniture of the 
colonial period is Dutch or Pennsylvania or from southern Connecticut 
where, as we shall see, it developed in a special style. 

Chests in cherry are known. Possibly chestnut was rarely used. 


2 


14. 


es 


An Oax Tuuip-PaneL CuHEstT witH Cross PANEL. 


baal y yes 


4 
1s 

fy oe 
a 


A Connecticut “ SUNFLOWER ” No-Drawer CHEsT. 





1670-90. 





1670-80, 





1660-80. 


A One-DraweErR SUNFLOWER CHEST. 


16. 


Oe i i ad 





1660-70. 


A Carvep Oak Four-Paneu CHEST. 


Ls 





1660-80. 


A Two-Drawer SuNFLowER CHEsT. 


18. 


eG el ae es 


ond 





1670-80. 


An Oax TureeE Panet Cuesrt. 


19. 





20. A Carvep anp Painrep CuHest. DatTep 1704. 





21. A Capratn’s Six-Boarp Sea-Cuest. Datep 1677. 


FURNITURE OF THE PILGRIM CENTURY 31 


Nearly all of our best examples, however, are in oak, or pine which fol- 
lowed it at a great distance as to merit. 

Old inventories mention also spruce; cypress and butternut has been 
found. The so called sea chest reputed to have belonged to one of the Pil- 
grim Fathers has inverted V or bootjack end, and is of board construction. 
A sea chest should properly sit flat on the floor without any legs. Other- 
wise it would overturn at sea. It is also made, as a rule, narrower at the 
top than at the bottom, to fit it against the ship’s side in the forecastle. Its 
handles are of woven rope attached to a bracket. This sort of chest, to- 
gether with the plain pine chest, has been broken up in great numbers 
for use in the repair of antique furniture. Unless such chests have some 
special sentiment connected with them they are of small account. 

In this book all objects are designated by number, never by page. 

No. 1 is called an architectural chest because the arches of the panel 
are structural and not simulated. The chest was found in a very ruinous 
condition on Long Island. It is owned by Mr. G. H. Buek of Easthamp- 
ton, Long Island. His dwelling is that made famous as the inspiration of 
the poem “ Home, Sweet Home.” According to a tradition, the chest was 
brought from Lynn in 1649 by a family of Osbornes. It has been care- 
fully restored, the feet of course being new. It is important as 
showing a true facade. It is also highly meritorious architecturally. The 
arrangement of two end-to-end drawers is scarcely found elsewhere in 
American chests except in the serrated Plymouth type. 

No. 2 shows the end of the chest with its scratch or grooved carving, 
an obvious imitation of the heavier structural work of the front. The 
end carving is found very rarely on chests, only three or four other in- 
stances coming to our mind. 

No. 3 is the end of the Virginia court cupboard shown in full later. 
We insert it here to afford an interesting comparison, since, in this instance 
also, the end is scratch carved, whereas the front is, in part at least, carved 
in the round. Thus we see an effort to carry out a slighter and less 
expensive decoration on the ends. In this instance, however, we have 
somewhat better carving on the top end rail. In all probability No. 1 
was carved on the leg stiles below the frame but the restoration is proper, 
since it is not safe to surmise a design the precise character of which we 
cannot ascertain. The modillions opposite the ends of the drawers are 
extremely rare on chests. They show as projecting substantially in No. 2. 
Where we have seen them, they are more often opposite the upper rail, 
especially on cupboards. This chest shows in the upper rail a conventional 
foliated scroll which very commonly appears on chests. The tulip decora- 


32 FURNITURE OF THE PILGRIM CENTURY 


tion in the panels is more unusual, especially in this excellent form. The 
rope carving of the arch is also of very rare character. 

No. 4 is an elaborately carved oak chest owned by Mr. William B. 
Goodwin of Columbus, Ohio. It has been restored. It is fair to say that 
its American origin has been challenged. The very early date of the chest, 
however, which is conservatively given with its title, may fairly account 
for its resemblance to English designs. Made at so early a period, there 
was no reason for a marked divergence from the foreign pattern. The 
effect is that of a low relief carving, the edges being rounded and the foliage 
being of varying depths, following the styles of the previous century, 
and producing a handsome effect. The carving on the stiles and top rail 
depart very markedly from what we are accustomed to see, which is more 
in the nature of that on the bottom rail. The panels also are of high 
character, those at the sides being of the tulip blossom and bud design, 
whereas the central design shows in its upper part a three leaf pattern. 

This chest came to Mr. Goodwin through the descendants of Kenelm 
Winslow, the official coffin maker of the Pilgrims of Plymouth. It is 
believed by Mr. Goodwin to have been made by Kenelm Winslow. The 
bottom, as found, was of butternut. The lid was of yellow poplar. It 
has been replaced with old pine. The body is believed to be of American 
white oak. Mr. Goodwin is the owner of a great number of interesting 
chests, each representing a special type or origin. 

Size: 47% by 273 by 214 inches. 

No. 5 is another very early chest whose special features are its rare 
paneled oak top, not looked for in an American piece. The carving is of 
a crude character on the panels, but the rails and stiles are better done, 
the inner stiles being palmated. The rope molding on the bottom stile 
is to be compared with that on No. 1. 

Another feature of interest is the scrolled, scolloped, not engrailed 
bottom rail. We do not find this except on early chests, and then on those 
with no drawer or possibly with one drawer. 

The bottom of this chest is pine but the back is oak. English chests 
of oak and also containing pine have come to our attention. The origin 
of this chest is not certain but it is presumably Connecticut. Size: 46 by 
274 by 20 inches. Here as throughout this volume we name the long 
dimension first, that is, the length, or as some would call it the width 
across the front; then the hight from the floor to the top of the lid, then 
the depth from front to back. It is important to take note of these 
specifications as they will not subsequently be explained. 

We have here a two panel end, as is frequent in chests of the earliest 


Spageeh 


ne! 


te E 
i. 





1660-80. 


Oax Diamonp-anp-ArcH CHEsT. 


AN 


22. 





1660-80. 


A Norman Tootru Carvep CHEsT. 


235 


oe 
OE Le 


AO EERE SLE SF. IE AE IY BIE IE ELD 





24. SERRATED PLyMouTH CHEST 1660-80. 





25. SeRRATED PLymMourH CHEST. 1660-80. 


FURNITURE OF THE PILGRIM CENTURY 35 


type of the highest character. There is also a thumb nail molding of 
the lid. 

No. 6, owned by Mr. George Dudley Seymour of New Haven, is 
supposed to be American, although its lid is of paneled oak, like that of 
No. 5, a feature which appears in only one other instance among the great 
number of chests here illustrated. The panels are carved in what is 
called a Runic design. The lower rail and the stiles are very slightly 
carved. The upper stile is outlined with scratches and prepared for inter- 
secting lunettes. This is not the only instance of incomplete carving. A 
chest-on-frame in this work is similarly outlined. The chest was found 
in Portsmouth, New Hampshire, and is now in Wadsworth, Atheneum, 
Hartford. 

No. 7 is a four panel front chest, owned by Mr. H. W. Erving of 
Hartford. The ends are in single panels. The short stiles are plain, but 
the end stiles carry double rows of pencil and pearl carving. The top 
rail between rows of pencil and pearl ornament shows a scroll, and the 
bottom rail carries one row of the pencil and pearl ornament. The 
lid is oak. 

To a student of structure this chest may serve to illustrate certain 
peculiarities. The molding on the inside of the leg stiles is worked from 
the solid, apparently, after the parts of the chest were assembled. That 
is to say, this molding runs out to nothing at the top and bottom, being 
chiseled rather than planed, and stops not abruptly but on a curve. 
Again the bottom rail is beveled or molded on its upper edge under each 
panel, which is not true on the lower edge of the upper rail. Sometimes 
the beveled edge was carried around all sides of a panel but always stopped 
before the corner was reached. The moldings on each side of the stiles here 
are, as appears, cut before the chest was put together. The back posts 
projecting as they did beyond the back top rail were often cut away for an 
inch or so, at the top, to allow the lid to open and to stop it, when it struck 
the shoulder, thus cut on the post. Otherwise the lid would have been 
strained. 

The till within the chest at one end was framed in. In the earliest 
examples the till was of oak. Subsequently we often find it in pine even 
though the chest is oak. 

Size: 474 by 264 by 204 inches. 

No. 8 represents a very long chest. The decoration of the top rail is 
a series of lunettes and reversed lunettes, which we see also on various 
other chests of oak and even on one of pine in this work. The laureling 
which it bears on the short stiles resembles that on the Parmenter court 
cupboard, and also that on other chests. Wherever found it indicates an 


36 FURNITURE OF THE PILGRIM CENTURY 


early date and strong English influence. The rosettes or asters in the 
panels resemble those on a Bible box shown later. 

The initials P. W. are a somewhat early instance of -initialing though 
the English practice in this respect was probably different. Here the most 
frequent dating and initialing is found on chests of the last decade of the 
seventeenth century. 

Chests were usually made to order and we suppose them always to have 
been so made when they were initialed. It is this circumstance that gives 
individuality, romance and charm to old furniture. It is apparent that 
this furniture was designed for the house into which it was to go, and 
that it was to be used for a very specific purpose. It is a not altogether 
pleasing reflection that the names of the owners, even of initialed pieces, 
of early furniture, are almost always unknown. Their makers also are un- 
known. Although many stories accompany furniture, especially where 
it is found for sale in shops, it is practically impossible, more than once 
in a thousand times, to establish the precise origin of furniture in the 
Pilgrim Century. 

No. 9 represents two extremely rare features in a chest, namely a five 
panel front and a carved end. The owner is Mr. George Dudley Seymour. 
The lid is a restoration as are also the feet. Of course the bottom should 
not show. 

The chest is very handsome, and follows closely the analogy of some 
English models, and is similar in its diamond panel design to No. 10. The 
indentions above and below the panels are an interesting variant. The 
short stile on the two-panel end is also carved like those in front. 

No. 10 shows a close cousin of the chest just discussed. The carving 
of the top rail has been called by some fluting, and the term is absolutely 
correct as a description. As in all cases of fluting the effect is enhanced by 
the curved line left at the bottom of the flute. The bottom rail has 
merely scratch carved lunettes. Both rails and stiles on the two-panel end 
are strongly molded, the moldings at the top and bottom being called chan- 
nel molds. Flat panels like these are called sunken panels whereas those 
with the beveled edge which rise to a level with the surface of the stiles 
and rails are called raised panels. If the panels rise higher than the frame 
we name them block or highly raised panels. The lid of this chest is 
neither original nor proper. Size: 54 by 32 by 23 inches. The depth is 
very unusual but is evidently increased to correspond with the great length. 
The length of the feet is 74 inches, which is quite proper, showing only 
normal wear which is never very much on solid oak, unless a piece has stood 
in a wet place. 

No. 11 is the first example we have thus far shown of applied orna- 





26. A SerRRATED PLtymMoutH Cuest. Darep 1691. 


caplet ie 


WV YN SESS 





bas. Ss ee Aa ts ca a OLE lt a i te nn SS es a] 


27. A SERRATED PLyMouTH CuHEsT. 1660-90. 





1660-80. 


A SerraTep PLymoutTH CHEsT. 


28. 





FouiateD THREE PaneL CuEst. 1660-80. 


29 





TTES. 1670-80 


TH RosE 


Wl’ 


A Carvep Oax CHEsT, 


30. 


Hab Gk 





31. A Carvep Oax Cuestr. 1660-80. 





vail is i li tems tc 


32. A PaneLep-Lip Oak CuiLp’s CuEst. 1670-1700. 


FURNITURE OF THE PILGRIM CENTURY 41 


ments in addition to carving. This construction points to a slightly later 
date than the pieces which are decorated by carving alone. True, there are 
individual instances of pieces that are carved, of later date than those that 
are both carved and otherwise decorated. 

This chest also shows triangular blocks in the corners of the end panel. 
There are three tulip patterns in its panels, and in this respect it is, perhaps, 
unique. This chest also shows a heavy applied strip of molding about the 
base both at the ends and in front. It will be observed later that this 
molding often stops on the front when it is between drawers, and in 
some instances it is true also at the bottom, as in all the known examples of 
the serrated Plymouth chests. 

The drops, also called split banisters, which appears to be the same 
word as balusters, are marked by great boldness in the turnings. The 
connection between the enlarged ends and the central portion is very small, 
So as to cause us to wonder how the crude early lathe could be coaxed into 
producing a result so delicate. It will be noted that these drops are in 
pairs on the inside stiles and appear in a larger form singly on the outside 
stiles. There is a strong affinity in shapes between all the patterns of drops. 
The rounded oval in the center of the end panel is called a turtle back, a 
boss or an egg. In this instance it will be seen that it is surrounded by 
four miniature bosses. These applied ornaments on chests and cupboards 
were almost always painted black, probably to simulate ebony. Their 
wood is often maple but sometimes beech, birch or pine though the last 
named is rare. They are attached by glue and in some instances wrought 
brads have reinforced the glue. Whether the brads were ever original, we 
have been unable to establish. The frames of the chests of the earlier type 
were as a rule put together without glue, the joiner depending upon his 
pin construction. Obviously when ornaments were attached he must fol- 
low a different method. Very rarely we have seen pins of wood used to 
attach ornaments but we cannot now name the instances. There seems to 
be a fatuous dependence by joiners upon the reliability of glue. Unhappily 
this dependence has been the cause of the loss of many fine decorations. 
It is the rarest thing to find a chest or a cupboard with all its original 
ornaments intact. In fact we know of only one such instance. Joiners 
today show the same simple faith in glue. In the ancient day when there 
was no dry heat such as we too often have in modern dwellings, glue was 
more likely to fulfil its function satisfactorily. Ornaments on an ancient 
piece will sometimes drop off like an unripe harvest when subjected to 
steam heat. There would seem to be no valid objection to securing these 
ornaments solidly by brads. The ancient cabinet makers are said to have 


42 FURNITURE OF THE PILGRIM CENTURY 


used a far better glue than we have today, but that is a matter that is 
open to two opinions. 

Our loss would not be so great were it not true that the moldings about 
the panels of old pieces were also often attached by glue, and hence have 
lost some of their members. The heavy skirt mold and other heavy molds 
we are happy to say was usually attached by pins of wood or by nails. The 
owner of this chest is Mr. George Dudley Seymour. The top is new 
and probably should have been of pine, not oak. The chest is otherwise 
original. It was found in the Capt. Charles Churchill house, Newington, 
Connecticut, about forty years ago. At that time it stood on end and was in 
use as a harness cupboard. In the same house was a Connecticut sunflower 
court cupboard which was rejected to “ make room.” 

Size: 47 by 26 by 19 inches. 

No. 12. This carved chest should be compared with the Hadley chest 
Nos. 33 to 42, and particularly with No. 41. It resembles the Hadley 
chest in being carved over the entire front and in showing everywhere 
the tulip blossom. In this case, however, instead of the narrow vine 
shown in No. 41 we have a highly conventionalized heavy rope. The 
style of carving is quite superior to that found on the ordinary Hadley 
chest, which is about as bad as anything can be, and scarcely worthy of the 
name carving. 

There is a two drawer chest similar to the piece before us in the Con- 
necticut Historical Society. The panels in:that piece are more like the 
tulip pattern panels on the sunflower chest. 

It will be noted that no moldings whatever appear on this or on the 
Hadley chests unless the chamfering around panels is to be called a mold- 
ing, which is hardly allowable. Another feature of this carving is that a 
plain band is left all around the edges of the rails and the stiles before the 
carving begins. 

As this is the first chest we have shown with a drawer, we may point 
out that American chests of this period had small wooden drawer knobs. 
They are much smaller than the Pennsylvania type of a later period, and 
very much smaller than the walnut knobs of the depraved Empire period. 
In English chests of this date we usually find an outline pear-shape iron 
drop handle, a thing we have never observed on an American chest. 

Owner: Mr. H. W. Erving. 

Size: 49 by 32 by 184 inches. 

No. 13. Arare four-panel chest with one drawer attractively carved in 
wheels, rosettes or geometrical figures, connected with grooved bands, and 
spaced by smaller similar circles. The palmated carving of the panels and 








1690-1700. 


A Onet-Drawer Hapiey CHEsT. 


33: 


Hse 





1700-10. 


MiniATURE CHEST. 


34. 





35. A One-DrawER Hap.ey CHEst. 1690-1700. 


crass eee i 





1690-1710. 


36. A Six-Boarp SUNFLOWER PinE CHEST. 


a 


2 Re 
A FA 
&) z, 


9 





1690-1700. 


Drawer Haney Cuesr, 


A ONE 


37- 





AE aE 


1700. 


Cc 


Miniature Cuest, 


38 


I 
é 
: 
6 
# 





1690-1700. 


A Hap.ey CuHeEst, wirH FuL_yi Name. 


39- 


FURNITURE OF THE PILGRIM CENTURY 47 


the deep channel mold on the corner stiles are both noticeable. The 
chest has now had its legs pieced. 

The lid is pine, a trifle too narrow, and bevels sharply outward and 
downward from the top, and is cut from a slab so as to give the benefit 
of the extreme width, a very amusing instance of adaptation. 

The usual number of lunettes on such chests is five, as here, on the 
top rail. This chest has a three-panel end. A similar chest of Mr. 
Erving’s has four panels. The old hasp remains. 

Size: 52 by 34 by 21 inches. 

The wood of this chest is very light white oak. 

No. 14. An unusual Connecticut chest, has the side panels in the con- 
ventionalized tulip pattern, but instead of the aster or sun-flower pattern 
on the middle panel we have the diagonal cross often found on Con- 
necticut cupboards. This is the first chest in which we find turtle backs on 
the front. The huge, ungainly handles are incorrect. They should be the 
usual moderate sized turned handles. We find on this chest the pairs of 
short drops on each side of the drawer and another pair in the center where 
the drawer front is divided in two parts by false panel work. In pieces of 
this kind, as usual, where there are moldings applied to the board which 
forms the front of the drawer, a plain thin piece, three eighths of an inch 
thick, more or less, is applied at the center to make the division between the 
two panels and on this the drops are applied. Thus the board forming the 
front is really recessed, or allowed to push in below the surface, and the 
surface is made flush by the applied blocks and moldings. 

The blocks on which the stiles rest are not a part of the chest. This 
chest should be compared with No. 15. 

It is from the Henry Stearns collection, formerly in Hartford. 

No. 15. A rare example of which perhaps only one or two others 
exist of a Connecticut sunflower and tulip chest without a drawer. On this 
account it is probable that we should date the chest about ten years earlier 
than chest with drawers, although to do so is of course purely arbitrary. 
We observe in No. 14 a heavy molding carried around above and below 
the drawer, and here we have a similar mold on the bottom rail. 

The carving on this notable class of chests is about an eighth of an 
inch deep, sometimes only three thirty-seconds deep. The background 
is pitted by numerous tool marks so as to form a pebbled or stippled 
surface. In many cases this ground is painted red. Perhaps this was 
always the case. In the process of years the red has faded or been washed 
away so that in some instances scarcely a trace of it remains. 

The tulip and the sunflower are so highly conventionalized as to 
indicate at least a second stage of development. In fact the central and 


48 FURNITURE OF THE PILGRIM CENTURY 


upper blossom of the sunflower is of a different character than the others, 
although all are supposed to grow on the same stem! 

There are one or two score sunflower chests known. So far as we are 
able to trace them at all, as we are in a large majority of instances, we find 
that all came from Hartford County and many from Hartford itself. 
Lyon, who is very accurate, states that English collectors have never seen a 
chest of this character. Since his date, however, it is claimed that numerous 
oak pieces in England have pine in parts. Simmons, in an article on this 
subject, makes the same claim. If we are to generalize on these state- 
ments at all we may say that pine in English pieces of the oak period is 
very rare. We do, however, find it more frequently in the walnut and 
mahogany periods. There are those who claim that this pine is really 
Scotch fir and others who say that it was imported into England. 

However, it not necessary to depend upon the presence of pine in oak 
pieces to establish their American character, in the case of the sunflower 
and various other chests. It is not at all credible that every English type 
of this sort should have been brought to America leaving none behind. 
The presence of so many in one city and county is evidence of the strongest 
character in favor of the conclusion that these chests were produced .in 
Hartford. 

The moldings on these chests are sometimes of red cedar, from which 
we infer that it was the intention to leave them in the natural wood so as 
to secure the color of the cedar. In instances, however, where a softer 
wood, or perhaps soft maple, is used, the moldings were painted red, 
which has now become an old red. At the time it is applied, however, we 
have evidence that it was very brilliant. Near the center of these molds 
there were small black parallel lines painted across the molding. 

The owner of the chest is Mr. James N. H. Campbell of Hartford. 

Size: 444 by 244 by 18 inches. 

No. 16. This one drawer Connecticut sunflower style is far more 
frequent, but the two drawer type is probably most often found, because 
it is a trifle later. 

The piece before us has a pine lid, and two-panel ends. The upper end 
panel has beveled corners. The fashion of slanting the turtle backs on the 
drawer is an interesting characteristic. 

Though the name sunflower chest has been bestowed on this style it 
is understood that there are side panels with conventionalized tulips. 

Owner: Mr. H. W. Erving. 

Size: 444 by 31 by 194 inches. 

No. 17. This four panel chest has its stile legs carved in the same 
fashion as No. 10. The bottom rail is also a lunette motive, only in this 





40. A Two-Drawer Hapiey Cuest. 1690-1700. 





41. Turip-Scrott Haptey Cuest. 1690-1704. ; 





42. A Turee-Drawer Hapitey CuEst. 1690-1700. 





1660-90. 


K CHEsT. 


Eicut PanELED Oa 


3 


4 





1693 


DatTep 


. 


EL CHEsT 


K THREE Pan 


Oa 


44. 


FURNITURE OF THE PILGRIM CENTURY 53 


case it is doubled. Thus the bottom rail matches the top rail except that it 
is not so ornate. The double lunette here is of precisely the same outline 
as that in the pine chest No. 36. We may presume that the pine chest 
motives were copied from those on the oak chests. We have called this 
motive a shuttle pattern. The carving on the long stile has been char- 
acterized by carvers as a spade motive. The short stiles are carved in a 
manner like an inset split ball turning. It will be noticed that the bottom 
rail is not chamfered as is usual. This chest never had a drawer, but 
numerous chests, on careful examination, show that a drawer is missing. 
Sometimes the supports have been entirely removed but a trace of a 
framed rail for the drawer to slide upon can always be found, generally 
in the form of a rabbet on the back stile. 

This chest is of extraordinarily large size, being 544 by 292 by 224 
inches, about the size of No. 10. As these two chests have elements of 
carving in common and as their ends are almost precisely alike we may 
infer they may have been made by the same person. 

Owner: The estate of William G. Erving, M.D., Washington. 

No. 18 is a very good specimen’ of a two drawer sunflower chest. 
It was restored about forty years ago at the time when Connecticut cabinet 
makers, working in conjunction with Dr. Lyon, were first engaged on 
their pioneer work of finding and calling attention to this sort of furni- 
ture. This example has not lost any considerable portion of its feet; the 
top is original except the cleats; so also are most of the ornaments. 

There is an interesting variation in these chests and in cupboards of the 
same period, which clearly indicates that they were made to order, and 
that the feeling of the cabinet maker and his patron coincided in the 
thought of giving individuality to each piece. Thus we observe that the 
carving, the ornaments, the size and many other particulars are varied 
slightly. A chest, especially when designed as a gift, was regarded 
properly as appropriately marked by some peculiarity. It is this variety, 
so natural to a good workman, and so fine a stimulus in all artistic produc- 
tion, that the seventeenth century had and we have not. It is this feature 
which must be introduced again into American life. It is one thing to 
standardize the mechanism of automobiles. That may be possible and 
is certainly desirable. But we ought to distinguish between mechanics 
and artisanship. Unless we are to revive individuality in our characters 
as well as in our surroundings, true progress will be at an end. There 
is no stimulus in thinking, and no character development, if every house- 
hold is to be furnished with standard articles. 

Size: 45 by 40 by 204 inches. The stile legs project six inches and 
were probably at least seven inches. 


54 FURNITURE OF THE PILGRIM CENTURY 


The top is hard pine. All the elements of this chest are quite correct. 

No. 19 is an interesting variant. The owner is Mr. H. W. Erving. 
The foliated scroll on the center panel, bearing the initials W. B. differ- 
entiates the chest quite markedly. The absence of the drawer may probably 
call for an earlier date. There is a single panel end. 

The channel or shadow molding in these chests is as a rule painted 
black to coincide with the applied ornaments. The maple used in turn- 
ings was the soft, swamp, or water maple, three names for the same 
variety. It was rather more common and easier to work than the rock or 
sugar maple. The birch used in turnings was often of the gray and 
rather frail and somewhat soft variety, not the heavy, hard mountain or 
salmon birch. 

Size: 44 by 254 by 18 inches. 

No. 20. This unusual chest is a combination of carving with painted 
decoration, and is therefore probably earlier than the chests with painted 
decorations only. This piece is remarkable in giving not only the year, but 
the month and the day, on the central panel. The two drawers are also 
painted in the tulip bud and blossom, and the blossom is not as highly 
conventionalized as is usual. This is the first chest we show with decorated 
painting, the painting mentioned in the previous cases being in the nature 
of a background or relief to set off the carving. It will be observed that 
on this chest as well as on No. 18 the molding between the drawers 
stops on the front and is returned to the front. In the Plymouth serrated 
chests, however, while the moldings stop on the front, returns are seldom 
worked upon them. They are sawed off flush with the outside end of 
the carcass. Some have thought that this distinction in the manner of 
applying the molding indicates an earlier date for the Plymouth chests, 
and we incline to this opinion. It is entirely possible, however, to at- 
tribute the difference to the greater skill of the Connecticut craftsmen. 

We feel quite certain that painting on Connecticut chests was a later 
decoration than the carving or the applied ornaments. It is found in 
southern central Connecticut. What inspiration it received from the Hol- 
landers of New York and the Pennsylvania Germans is not clear, but 
Wwe must presume a connection owing to the fact that the painted chests 
of Connecticut are found principally in the shore towns where con- 
nection with New Amsterdam was close. 

Owner: Mr. Malcolm A. Norton of Hartford who also has chests 
like No. 18. . 

No. 21 a true seaman’s chest. It is called a captain’s chest, pre- 
sumably because it is carved. Sailors had leisure and exercised it very 
frequently in the carving of small ornaments called scrimshaw work. 





1660-90. 


Att Oax Arcu Panet CHEST. 


45. 





20. 


1700— 


Pine Boarp IniTiALED CHEST. 


46. 





47. Oax Scrottep Skirt Cuest. 1660-80. 





48. Pine Miniature CueEst. 1690-1710. 





49. 


Oax Two-DrawEeR CueEst wiTH Drops. 


1670-80. 


50. 


A Curvep Motp Cuesr. 





1680-90. 





Core et, Nagy ear Arad 











FURNITURE OF THE PILGRIM CENTURY 59 


They are a free hearted and generous lot. They seem to enjoy making 
something. for wives and sweethearts more than for themselves. Hence 
we find surprisingly little insthe way of carving by them on cabinet 
pieces. We accept with suspicion tales of their having done elaborate 
chairs on shipboard. In the instance of this board chest, the first by 
the way we have shown without a joined frame, the simplicity of the 
carving makes it seem reasonable to believe that it was done on ship- 
board. Nevertheless the hearts initialed M.S. would seem to point it 
out as a gift piece done for a sweetheart or a wife. That it was, how- 
ever, made at sea or by a seaman is proved by the rope handles. Its 
lack of feet also indicates that it was for use at sea and may have been 
designed for the captain’s wife. The material is pine, not the best for 
carving. Oak itself, though it is the classical wood for Gothic carving, 
is not susceptible of dainty cutting such as marked the work of Grin- 
ling Gibbons, whose favorite material was pear wood. The grain for 
the highest class of work should be close and hard and free from knots. 

As has been pointed out before, the lids of sea chests are usually 
narrower than their bases owing to the forward slant of the back. 

Owner: The estate of George F. Ives of Danbury, Connecticut. The 
date appears in no less than three places on the front, a curious repetition. 

Size: the outside measurements including the lid, are 53 by 19 by 
21 inches. 

No. 22. This chest introduces a new element for our consideration, 
— the carved arch in combination with the panels we have already been 
considering. 

The owner is Mr. H. W. Erving. 

This American chest is very elaborate and has legs of unusual length 
indicating that good care must have been taken of it. The ends have 
three plain panels. The arch in this chest is also seen on English ex- 
amples, and on No. 24 and No. 45 and on some court cupboards. The 
arch is quite precisely like the English, not only in its shape but in the 
projecting capitals and bases. One would hardly catch at first glance 
the great number of ornamental features, but to enumerate them is 
impressive: drops, bosses, nail heads, channel molds, diamonds, rosettes, 
blocked corners, incised ornaments, an arch, keystone and other arch- 
structure blocks and moldings about panels and drawer. 

The wheel decoration rather than the flower type which appears in 
the diamonds may have been suggested by the wheel windows of the 
Gothic day. Of course the circle, as variously divided geometrically, 
is a primitive and obvious method of ornament. 

Size: 453 by 334 by 192 inches. 


60 FURNITURE OF THE PILGRIM CENTURY 


No. 23 is a decided departure in ornament from the chests hitherto 
considered. Dr. Lyon showed a chest of this character. The series of 
square carved incisions running vertically on the stiles is called Norman 
tooth carving. The top rail is cut in foliated scrolls as often seen. The 
panels are done in a double scroll of the same character. The drawer 
is a restoration and the feet have been pieced. The chest presents a very 
handsome appearance and has a fine color. The lid is of thin oak with 
an unusual overhang. 

Sizé: 36 by 334 by 18. 

No. 24 is our first example of a serrated Plymouth chest belonging 
to Mr. M. A. Norton. 

These chests are of the highest importance for several reasons. They 
constitute, together with the serrated Plymouth cupboards, the main 
contribution of Plymouth Colony to our important and stately furniture. 
of the seventeenth century. Eight or ten of these chests are known. 
The points of similarity between them are: first, serrations, like Norman 
carving, running across one or more oak molding bands the length of 
the chest. Second, two or four drawers arranged in sets of two on the 
same level. That is to say no drawer goes across the chests, but there are 
two side by side or end to end drawers. If more drawers are added they 
are in the same fashion. We shall notice later that this rule holds true 
also with the court cupboards of the same type. Third, narrow parallel 
gouges in pairs (pencil and pearl) running at intervals across one or more 
oak moldings on the front. Fourth, the molding stops on the top but 
does not return. It is sawed off flush with the ends. Fifth, all the 
pieces have applied turned decorations, both drops and bosses, 

All have triglyphs on some one of the rails, perhaps always the top 
rail. Sixth, all have pine drawer bottoms, pine drawer fronts and prob- 
ably all have pine panels in front and in some cases at the end. Seventh, 
all are paneled in the backs, sometimes with oak, sometimes with pine. 
Eighth, all are traced, as far as they can be traced at all, to Plymouth 
Colony or to Plymouth itself. The piece before us is peculiar in that 
it possesses an arched panel, which is the only instance we recall among 
the Plymouth serrated chests. This fact has the more importance since 
it bears on the question whether American chests and cupboards with 
arched panels may not be challenged as old importations. There is such 
a strong American feeling in these Plymouth pieces that we feel this 
arch settles the matter. 

The shape of the notching is really in the form of pointed dentils 
on the highest member of the chest. The drawer moldings are, we 
believe, uniformly slanted back to the outside edges rather than slanting 





51. Heavy Two-Drawer Batu-Foor Cuest. 1670-90. 





Oak Turee Panet Cuest. 1670-90. 


§ 2 


1670-90. 





SPEER EME RTE oe te en 





Oak anv Pine Turee Pane, Cuesr. 


53- 


TTY NR EERIE RR rer 


eR 
t 


re 








55+ 








54. Prain Pane Oax Cuest. 1670-90. 


A One-Drawer Moupep Oax CuHEst. 








1680-90. 


“ey 


oe eager 











56. An Oak Cuest, with Turee Repearep Panes. 1670-90. 





Be 





57 An Oak Six-Boarp CueEstT. 1690-1700. 


FURNITURE OF THE PILGRIM CENTURY 65 


inward like most chest moldings. We believe that this character of a 
molding, other things being equal, is the older of the two, since it follows 
the style of the seventeenth century looking-glasses. 

This chest was found in Connecticut in a family which had possessed 
it for many generations. Yet the migration of Massachusetts people to 
Connecticut and the definite knowledge of Plymouth origin in other 
cases need not stagger us in relation to this chest. Though it has lost 
something from the feet it is a rich example of the type. 

No. 25 is another chest of the same general character except that it 
has turned feet in front. The moldings of the panels are also more 
elaborate than we have seen on any other of the type. It is an exceed- 
ingly handsome piece. The side panels we think finer than the square 
blocking in the corners, although this of course is a matter of taste. 

We have said that all these chests have two drawers. This chest 
being small scarcely breaks the rule, the shortness of the drawer not 
calling for its division. 

Owner: Mr. M. A. Norton, the same as in the preceding example. 

No. 26 presents many interesting variations and has the special flavor 
of a precise date. The till of this chest is of white oak divided down the 
center with a row of stamping, and then having the halves of the top 
each bearing an X of similar stamping. The face of the till is also 
stamped. Below the till are short side runs of oak which indicate that 
there was once a small sliding drawer under the till. The date is stamped 
by the same tool which executed the rest of the work, 1691. 

Another exceedingly interesting mark of change with the progress 
of the years is the fact that a half of the old drop handle on one drawer 
was in place showing it to have been a brass ring drop. The handles 
therefore as shown are reproductions. This piece was found in an attic 
in Scituate, according to a report. It is, anyway, a Plymouth Colony 
piece. 
The thin applied blocks at the center of each side of the middle 
panel and on the side panels were stamped in double rows with an inter- 
esting device. Some of these applied pieces were missing and also some 
of the moldings, as we would naturally suppose would be the case. But 
the most remarkable fact in regard to the condition of the piece was that 
every one of the applied turnings was intact. It is important to notice 
that these applied ornaments appear on the feet also, in this case in 
pairs. In two of the cupboards found, as we shall see, there is a single 
large turning, simulating to some degree a ball foot. The interesting 
question arises whether all chests and cupboards of this design should not 


66 FURNITURE OF THE PILGRIM CENTURY 


have applied turnings on the feet. We incline to the belief that they did 
all have such turnings originally. ; 

Another feature of odd interest in this chest is the fact that the lid, 
which is original, is of hard pine but is faced with a piece of oak, front 
and back, wide enough to admit the molding. This is an amusing cir- 
cumstance since the panels are pine. Why they should have attached 
the strip in the back is difficult to say. We may presume that wide oak 
could have been found since the writer discovered a house constructed of 
two inch plank many of which were twenty-four inches in width, and 
ran for many feet without a knot. It is true that these planks were red 
oak, which perhaps is found in larger boles than the white. Nor could 
the choice of yellow pine, as in this case, have been dictated by a lighter 
weight since the difference is not great. 

The mystery of these pieces is further hightened by the fact that 
we have in this example and in some others four oak panels in the back 
whereas the front panels are pine! Had oak been considered more 
desirable we cannot understand the failure to use it, because the panels 
are never very wide. 

The ends are three panels, and of oak. The drawer bottom and 
drawer back are of pine, and like every example of this type we have 
examined they show the rive or cleaving marks, here and there, on the 
under side. We hardly think this could have been an English custom. 
It is fair to say that several excellent mechanics have pronounced this 
wood spruce. The difference between spruce and pine on the smooth 
grain is very slight. One of our friends became much alarmed at the 
statement about spruce, and warned us that our pieces would be slightly 
thought of if we mentioned the matter. There seems to be a kind of 
bigotry in relation to woods as well as in religion. All the bottoms of 
this class of pieces are of a very smooth even grain which split with an 
agreeable smoothness, and we believe that the material is pine. 

A structural detail is that the drawer ends are nailed directly through 
from the fronts. The nails are then covered by the molding. This 
method is the opposite from a very early type in which the nails were 
driven from the drawer ends into the rabbet of the drawer front. 

The presence of the drop handles on this piece, as distinguished from 
the wooden knobs found in all the other pieces of this type which come 
to our attention, undoubtedly indicates a considerably later date for this 
piece. We notice that the earliest highboys, which we date about 1690, 
all had brass drop handles, and from that date on no fine furniture, 
except possibly the drawers of gateleg tables, used wooden knobs. We 
shall later point out the certainty of an earlier date for the court cup- 


ones 





1680-90. 


An Oax Center Brock PaneL CuHEsT, 


58. 





abet aes 


1700. 


A Pine Carvep CuHEsT. c. 


59 


fi 





1660-80. 


PANELS. 


PLAIN 


Oax CueEst witH Drops, 


60. 


‘ 
5 
7) 





1660-80. 


Oax Brock Pane, CHEstT. 


I. 


6 


a4 
n 
is. 


sets 


if BORD area aes 





1680—90 


Oax ORNAMENTED PaNneEL CHEsT. 


62. 


mit |) 


ie é - 


i) 


Senter 


PIR Femme 


* i ze > iI Figen, Pm 


jo Owes {comico 


* 


Vobe si 


Cw 


ere 


eae 


p 
ate ott be 


“alee Sap i PL 
ns bs 





1680—90. 


Batt-Foot Oax PaneL CuHEsT. 


63. 








1690-1710. 


Foor Pine Cuest. 


TurRnIP- 


64 





DatEep 1776. 


ArcuH Carvep Watnut CuHEstT. 


65. 


FURNITURE OF THE PILGRIM CENTURY at 


board of this type. The stamping which appears on this piece is also 
a decoration which seems to have come in about 1690. The piece is 
therefore marked by transitional ornaments, and notwithstanding its beau- 
tiful construction it really stands for the beginning of a decline. 

Size: 525 by 34 by 204 inches. These dimensions as usual are given 
on the body, technically called the carcass, except that the vertical measure- 
ment is from the floor and includes the feet. Here the feet are only 
4% inches long and have probably lost three inches. The oak strip on 
the lid is $ inches behind and 14 inches in front, and the thumb nail mold- 
ing is carried around front and ends. The large oak moldings are 14 
inches thick, and, in this solitary instance, we believe, the mold over the 
drawer in front is returned. 

The love of individualism appears in this chest which has diamonds 
in the end panels and block corners in the middle panel, a decoration 
which is reversed in various other pieces of the type. All end panels in 
this style are sunk, we believe. The top molding under the lid is varied 
by a diagonal cut running up from the pairs of cuts which form a crude 
pencil and pearl ornament. 

While mentioning dimensions we may say that the till has an extra- 
ordinary width being 94 inches. It also has a lock, now lost. 

No. 27 is another of the same type of chests from the collection of 
Mr. B. A. Behrend of Brookline. A peculiarity here is the scratch carved 
serrations on the feet, both at the top and the bottom, which would 
indicate the general rule of applying ornaments to the feet was in this 
case dispensed with, and that the carved serrations on the moldings above 
were merely suggested on the feet. This piece is also peculiar in having 
four “beam ends” instead of triglyphs. It will be noticed also that 
the panel work on this chest is precisely the reverse of that on the one 
preceding it. 3 

No. 28 belonging to Mr. H. W. Erving, is still another of these 
important chests. In this case we have the interesting variant already 
referred to of the large split turning on the feet which was also found 
on two recently discovered court cupboards of this type. We do not 
understand the lack of the third applied piece on the ends of the top 
rail, to make the triglyph, but we presume it to be correct as Mr. Erving 
is very accurate. ‘There are other instances of two instead of three strips. 

We have here the unusual thing in these chests of quartered oak 
panels instead of pine. The effect of the lighting does not show the 
quartering of the grain, on the left panel, but it is also, of course, of oak. 
It may be that the possession by a cabinet maker of a fine quartered piece 
induced him to use the oak rather than the pine. 


72 FURNITURE OF THE PILGRIM CENTURY 


In this connection there is a strong light thrown on the reason for 
using pine on the drawer fronts in this style. That part of the front 
which was not covered by the cedar molding was painted black. Thus 
there was no call to show a grain. Painted furniture may as well be 
pine as anything else. There still remains, therefore, only the problem 
of the true panels. 

Size: 50 by 334 by 214 inches. 

We have now shown five of the Plymouth serrated chests. There is 
another one in Pilgrim Hall, Plymouth, and we believe several others 
known, which we cannot just now place. We consider these pieces among 
the most important of our American chests, especially when their charac- 
ter and their source are considered together. 

No. 29 represents an oak chest the three panels of which are identical, 
being a doubled foliated scroll in the flat carving. The chamfering on 
all sides of the panels is clearly seen here. It is also clear that the 
chamfering on the short stiles was done on the bench, and all the rest 
was done after the chest was assembled, or at least with reference to the 
manner in which it must assemble. The panels including those on the 
ends, and the three on the back are of oak, and those on the back still 
show the rough riving. The lid is of pine molded with a bead on 
the front, and with pin hinges through the cleat. The chest was painted 
red and after the removal of all of the color possible it still has a strong 
tinge. Both upper and lower rails and all the stiles have a simple, 
doubled channel mold. 

Size: 42 by 274 by 18 inches. The legs are now 6% inches long. 
The chest has a one panel end. The till is missing but the mortise grooves 
where it existed appear. 

No. 30 is a very elaborate and handsome chest belonging to Mr. 
James N. H. Campbell, of Hartford. 

This very rich front exhibits numerous unusual features: One pecu- 
liarity is the very wide bottom rail, the like of which we do not remember 
to have seen in any other chest having a drawer, because the use of that 
portion of the chest is lost. The arrangement of the end panels is quite 
unusual; there being as a rule one, three or four. Here we have two, the 
lower one conventional, and above, instead of the two usual panels long 
vertically, we have a more decorative panel with triangular blocked 
corners. The front of the chest exhibits two styles of rosettes or asters 
or sunflowers, — we never are certain which term we should apply, and 
as these flowers are always conventionalized it is not a matter of import- 
ance. For the first time we have here, cut in the stile feet, similar flower 
blossoms to those found on other parts of the front. There is also a 





tact eet 


66. 


Miniature Painrep CHEsT. 


PaintED Oak Cuest. Datep 


1700-10. 





1705-6. 


DUR 


PALM hn Le LALA A te? 


(TET 





* Pei a Shaka See 


ie: oS Sea Rs 


68. A Patnrep Cuest, witH Two Drawers, 1690-1710. 





69. PainTeEpD Oax CuEstT. 1680-1700. 





70. Sunspurst ParnreD Oak CueEst. 1680-1700. 





EWoopd CHEST. 1690-1710. 


ED WuiItT 


AINT. 


P 


I 


7 








1700-20. 


E CueEsts oF Drawers. 


Miniature Pin 


BOATS 


7 


FURNITURE OF THE PILGRIM CENTURY 77 


peculiar little scratch carving on the top rail which we could perhaps 
dispense with without loss to the feeling. Very peculiar members of 
the carving are those which, shaped like a bending corn leaf, either single 
or double, fill the spaces between the rosettes. It is probably the copy 
of the end of a palm leaf. Another peculiarity is the division, super- 
ficially, of course, of the side panels into four smaller panels. The drops 
are also shorter than we usually find. 

Size: 48 by 374 by 20 inches. 

No. 31 is an unusual chest. The owner is Mr. George Dudley 
Seymour. It originates in New England. The front and end panels 
are of oak. It has the original pine lid. The carving of the stiles and 
top rail is similar to that of a copper-plate frontispiece fly leaf of an old 
Bible. It is a Renaissance type. The carving of the top rail also re- 
sembles that on chests already treated being in fact almost precisely like 
that of No. 23. This chest was sold many years ago at an auction of the 
effects of Josiah Herricks, of Antrim, New Hampshire, and, therefore, 
called the “ Antrim Chest.” 

In this and other parts of this work it will be understood that the 
frames of chests and boxes are oak unless otherwise stated and that their 
lids are pine unless otherwise stated. 

Size: 45 by 264 by 22% inches, the last dimension being the width of 
the top. Ordinarily speaking we are giving the frame size only, to 
which the overhang of the top should be added. 

No. 32 is a miniature chest, also belonging to Mr. George Dudley 
Seymour. It is presumed to have been made for a child. It is of oak 
including the paneled lid. It is also the only miniature chest in oak of 
this date, so far found, in America. The front rail has been charred, 
perhaps by rush lights, a common thing in English chests, it is said. It 
is to be noted that there is also a wide dentil carving across the bottom 
rail and that this is repeated on both top and bottom rails on the end. 

Size: 20% by 14% by 123 inches, the first and the last dimensions being 
the outside measurements of the lid. 

No. 33. With this chest we come to an interesting but perhaps over- 
rated and certainly later series of chests to which the name Hadley has 
been given, due to the fact that Mr. H. W. Erving found a chest of this 
character which originated in Hadley, or at least was found there. The 
special characteristics of these pieces is that the entire front is carved, stile 
and rail and drawer front, and that the carving is even carried down the 
stile leg to a point near its bottom. There is a considerable difference 
in the merit of the carving but it is all poor. The main element is the 
tulip blossom, the bud seeming to be somewhat neglected. The carving 


78 FURNITURE OF THE PILGRIM CENTURY 


is not even worked back to a ground in many instances but is merely 
scratched or outlined on the surface. This is always true of the veins 
from the stem to the leaf. The other motives in these chests are the 
introduction in many instances of the heart, in which case we suppose them 
to have been dower pieces. In addition to that they are, we believe, 
without exception initialed. They have the further peculiarity which 
appears also on one of the court cupboards in the author’s possession, 
not however of this style, that the ends of the drawer fronts are mitered. 
We scarcely understand the origin of this detail but its effect is obvious. 
It prevents the drawer from pushing in too far, and keeps it just flush 
with the rails and stiles without the need of a stop in the rear. These 
chests, in the one drawer type, generally have a small horizontal panel 
at the bottom of the end and two small vertical panels above it. These 
panels are always sunk so far as noted. They are also surrounded by 
beaded molds and they are chamfered on all sides. On the two drawer 
and three drawer types there are usually four end panels, these being 
longer below and slightly shorter above. The lids of all the pieces we 
have examined were of pine. Other details we take note of under the 
separate numbers. No. 33 is one formerly in the B. A. Behrend collection. 
It is attractive in color having some of the old red in the ground work of 
the panels. Of course, it has lost a part of its feet but we believe is 
otherwise original. 

No. 34 is a miniature chest belonging to the estate of J. Milton 
Coburn, M.D., of South Norwalk. It is the first example we have had 
of ball feet, which began to come in about 1680, but did not become fully 
established as a style for ten or fifteen years after that date. It has the 
double arch molding, which is a trifle later than the single arch. The use 
of these miniature chests was either for children or for placing on tables 
to contain more valuable or smaller articles than were placed in the 
large chests. We have here also the use of the brass drop handle, some- 
times called the bell tongue or tear drop. The plates on the handles 
were cast with various ornamentations. The English were past masters 
in the production of beautiful brasses. It is supposed that in most cases 
elaborate early hardware was imported. We cannot, therefore, state 
with certainty the origin of brasses even on pieces which are distinctly 
American. 

No. 35 shows another Hadley chest varying only slightly from No. 
33. The feet have been pieced to the upper length. Those inclined 
to see the image of George Washington on the contour of cliffs may pick 
out his grotesque head on the drawer. Probably this resemblance was 
unintentional since it is formed of the foliation of the tulip. The initials 








74. 


75. 


CarveEp Boarp CHEsT. 


PaNELED Pine CuHuEstT. 


1698. 


1700-10. 


1 A ee D9 bye" 


eee 








~ 


/ 


76, A OneE-Drawer Carvep Pine CuHEstT. 








77. One-Drawer Pine CHEstT. 1710-20. 


ae ihe 


4 
my 
= 
a 








78. 


79: 


YeLLow Pine Axti-Carvep CHEST. 


SHEATHED BRACKETED CHEST. 


1700-10. 


1700-10. 











80. A Six-Boarp Rounp Pane, Pine CuEsT. 1710-20. 





81. Pine Cuest on SHOES. 1710-20. 


FURNITURE OF THE PILGRIM CENTURY 83 


on these chests are so obvious that they will not be referred to except for 
special reasons. ‘The lid on this chest was wrongly replaced by oak. It 
has now been changed again to pine. The chest was found in south- 
western New Hampshire in the hands of an owner who doubtless carried 
it up the Connecticut river from its place of origin. 

Size: 414 by 354 by 184 inches. 

No. 36 is the first instance we show of a carved pine chest. It is 
now owned by the Pennsylvania Museum and was in the author’s former 
collection. The special interest that attaches to it, is that, while it is a 
six board chest, and the first chest we have shown of normal size with- 
out a frame, it carries carving from motives seen on the oak chest, and 
carried out with a considerable degree of taste. Thus the front is marked 
off as if the central portion were a panel. This portion as well as the 
outside of the entire front is surrounded with a single arch molding made, 
of course, by carving. The lunettes and reversed lunettes follow the 
analogy of more elaborate ones seen on chests already described. In the 
central section these lunettes are repeated in a kind of interlaced design 
which forms a series of circles from each of which four shuttles are out- 
lined. In the center there is the outline of a sunflower, which connects 
this piece with Connecticut examples. It came from Connecticut. The 
inverted V or bootjack end is somewhat relieved in its plainness by an 
irregular contour. 

There are a considerable number of carved pine chests. This one is 
perhaps more highly regarded than many of the others. The chest 
affords an amusing instance of rapidly increasing estimation of merit. It 
was found by a dealer who obtained it for practically nothing and sold 
it for a little more. Again it changed hands for a very low sum. 
Quickly, however, its unusual and quaint qualities began to be felt, and 
the next carved pine chest that appeared was held at so respectable a 
value as to be compared with the values placed upon carved oak pieces. 

No. 37 is a Hadley chest formerly owned by Mr. Brooks Reed of 
Boston. The carving of the middle panel is differentiated somewhat 
from the last example. 

No. 38 is a miniature decorated chest owned by the Metropolitan 
Museum. ‘The word decorated in this connection has now been special- 
ized so as to apply to painted decoration, as distinguished from carving 
or from applied turnings or other ornaments. 

In this case the decoration is very effective, but the inability of a 
photograph to pick out colors satisfactorily does not do the subject jus- 
tice. The ball feet and the flush drawer belong with the period. 

No. 39 is a variation from the Hadley chests previously shown, in 


84 FURNITURE OF THE PILGRIM CENTURY 


that it has two drawers, and, more particularly, is carved with the full 
name, Elisabeth Warner, across the top rail. It is owned by Mr. Philip 
L. Spalding of Boston. It was found in or near Deerfield about 1916, 
by Dr. Miner of Greenfield, who also found in the same region the three 
drawer Hadley chest No. 42. The condition of both pieces was good. 

No. 40 is another two drawer Hadley, the carving of which is some- 
what superior, in some respects, to the one drawer pieces. Or perhaps 
we should say that its variation from them is a pleasing change. It will 
be observed that the short stiles in these chests are very wide. Probably 
this was so arranged, since as the stiles were carved, more room was left 
for the full development of the carving pattern. The very close keep- 
ing to the tulip, however, indicates that the ancient tradition of Holland 
was still powerful. 

The initials, slightly indistinct, are H. A. The effect of the carving 
is a little softer than that on some pieces. It will be seen also that the 
chamfering of the panels in these Hadley chests is more in the form of 
a looking-glass frame and is entirely done on the bench, into the very 
corners, so that the chamfers match as they meet. This is an interesting 
mark of change and enables us to date furniture. The carving, also, on 
the bottom rail of this prece departs from the conventional, being a series 
of spade shaped leaves. Here also the heart on the middle panel is 
repeated on the bottom drawer. 

Size: 44 by 423 by 184 inches. 

No. 41 brings us to a Hadley chest, if we may so call it, of a more 
interesting and artistic design, and makes it appropriate to point out 
certain analogies. Mr. Erving found his chest in 1893. The chest 
before us was found in Hatfield. Mr. Luke Vincent Lockwood whose 
large and well known volumes show a good many of these chests, has 
recently discovered a chest of high character which he believes did not 
originate in Hadley. That name is probably a misnomer but answers 
as well as any other to fix a type. 

The remarkable discovery by Mr. Lockwood of a chest on which 
appears the legend “ Mary Allyn’s Chistt Cutte and Joyned by Nich. 
Disbrowe,” is perhaps as important as any fact which has come to light 
for years regarding American furniture, unless we are to except the dis- 
covery of three Plymouth court cupboards. Mr. Lockwood has given 
the public a scholarly and accurate dissertation in. the bulletin of the 
Metropolitan Museum concerning this chest. It appears that Disbrowe 
died in Hartford in 1683. We have, therefore, an earlier date for the 
earliest type of this chest than had hitherto been assigned. The carving 
upon the Disbrowe chest is sufficiently similar to that on the Eastman 


sce pneoon 
ee eS 


cscs 





82. A WuitrEewoop Cuest with Heavy Buocx Panets. 1700-10. 





83. A Pine Nine-Panet Cuest. 1720. 


84 & 85. Smatu anpd LarcE Pine CueEsts. 1710-20. 





FURNITURE OF THE PILGRIM CENTURY 87 


chest before us to suggest the probability of community of knowledge 
between the makers, or possibly the same maker. Each chest has a dia- 
mond in the side panels in which the initials are inserted. Four of the 
half diamonds on the top drawer of the Disbrowe chest appear on the 
Eastman chest. The continuous scroll carried around the outside stiles, 
the rail above the top drawer, and thence onto the inside stiles, is 
obviously the same motive in each case. In this Eastman chest the scroll 
of the inner stiles, however, connects with the stem of the tulip on the 
top rail. 

Another variation of an important character is the sunflower and the 
five centered rosettes cut respectively in the upper and lower drawer of 
the Eastman chest. Of course there are many variations in detail. 

Now as to the origin of these pieces, the chest before us, owned by 
George P. Eastman of Orange, New Jersey, has the following light 
thrown on it by the owner: His grandfather Lucius Root Eastman, Sr. 
saw as a boy the chest in the woodshed of Ais grandfather Martin Root. 
When L. R. Eastman, Sr. grew up he obtained the chest from an aunt 
to whom it had come meantime. Mr. Eastman, the present owner, 
informs the writer that John Allis was a resident of Hatfield and that his 
daughter Elisabeth Allis was married to James Bridgman in 1704. In 
the inventory of Bridgman’s estate there is mentioned a “ Wainscott 
Chest.” The Martin Root above mentioned was the grandchild of this 
couple. Mr. Eastman says that there seems to have been a family con- 
nection by marriages between the Allises of Hatfield and the Disbrowes 
of Hartford. It is believed that the initials E. A. stand for Elisabeth 
Allis and that it was a dower chest. The sunflower motive on this chest 
allies it somewhat with the Hartford sunflower chest. It should be 
remembered that the first road was the river, and that the first land road 
was built up and down the Connecticut river, and that the connection 
between the towns on the Connecticut was very close. 

Captain John Allis, father of Elisabeth Allis, died in 1689, six years 
after Disbrowe. It is entirely possible, and perhaps we should say 
probable, that the chest was made by her brother, who was in business 
with a Belden who had married the widow of Captain Allis. These two 
carried on business for many years and the firm name was used for about 
a century, and the firm has been continued under another name to the 
present time. Mr. Lockwood states that Mary Allyn married in 1686; 
that Disbrowe was born quite probably in Walden, Essex County, Eng- 
land, in 1612 or 1613, and that he was the son of a joiner, and that 
there is a record of him in this country back to 1639. We are greatly 
indebted to Mr. Lockwood for his thorough search. 


88 FURNITURE OF THE PILGRIM CENTURY 


Our conclusion as to the whole matter of these two chests is that they 
antedate the other Hadley chests known, and also are far superior to 
them in design. We call attention to a later discussion in this book on 
the carving of these chests, as compared with the box No. 134 which 
probably antedates both of the chests. 

No. 42 is one of two known three drawer Hadley chests. The owner 
is Mr. Harry Long of Boston and Cohasset. We speak with reservation 
regarding the number of these chests because the only one we have seen 
beside this is in the Deerfield Museum. We have, however, had a report 
concerning another but have not yet seen it. This piece was found near 
Deerfield, in excellent condition, except that it had lost the handles. A 
flat wooden bar was run down inside the chest in front, passing through 
slots in all the drawer bottoms so as to lock them. Thus one key at the 
top was all that was necessary. Most of the Hadley chests have their 
stiles beveled, another term for chamfered, on their inside faces, below 
the body. 

The next step to three drawers would naturally have been a chest of 
drawers in the Hadley style. One or two have been found somewhat 
resembling the Hadley chest, but perhaps should not be classed under 
that name. The going out of carving, which occurred very shortly after 
the coming in of the chests of drawers, may account for this hiatus. 

With this chest our review of the Hadley type ends. It has attained 
more prominence perhaps than it merits, yet it is an interesting example 
of the influences at work about the year 1700. 

No. 43 is a large and extremely rare chest in that it has two rows of 

panels on the front. These are formed, indeed, of applied pieces on 
the four true oak panels. All structural parts of this chest are oak in- 
cluding the four back panels, except the lid which is extraordinary in its 
width and condition, it being formed of pine and 244 by 534 inches, 
The applied decoration on this chest may possibly be lacking in some 
particulars. It is impossible to ascertain whether there were drops on 
the outside stiles to match the three on the other stiles or not. Decora- 
tion of this sort, when undertaken, was usually more complete, so that 
the appearance is suggestive of something omitted. 
The applied decoration on this chest may possibly be lacking in some 
and the triangular blocks of the panels, the channel molding and the 
applied ornaments, and even the thumb nail molding of the lid, are painted 
black, the panel moldings and the chamfers on the end panels are painted 
red. 

The feet at present are only 34 inches long and that is probably half 
of what they were originally. The bottom has been nailed on so as to 








86. An Oak Two-Part Cuest or Drawers. 1670-80. 


88 & 89. 


87. An Oax CuHEstT 





An Oax AND A PINE 


| 
4 
/ 


oF Drawers. 1670-90. 


edn RI ES 


Cuest oF Drawers. 1680 & 1720. 








FURNITURE OF THE PILGRIM CENTURY QI 


show on the outside, which of course was not the original construction. 
The legs are thus shortened an inch. 

Size: 524 by 304 by 232 inches, excluding the lid overhang. 

This piece was found in Connecticut, and has been slightly restored, 
the original hinges being missing. 

No. 44. An oak chest with the original pine lid which is, however, 
in very bad condition. It has the cleat pin hinge. The date is cut in 
the long inserted block in the bottom of the center panel. A feature of 
particular interest in this chest is the application of very slender drops on 
the panels. They appear incomplete and apparently were formed by 
cutting off the ball ordinarily seen at the bottom. Compare with the 
long drops on No. 118 and No. 203. Also compare the finely divided 
panel work with that on No. 118, No. 126, and No. 203. Here then we 
have four pieces, a chest, a chest on frame, a Bible box, and a court cup- 
board, all with the same miniature, long and narrow, horizontal panels, 
all of which probably bore small bosses, such as still appear on a part 
of these pieces. The presumption is that all of them were made by the 
same artificer. The date on No. 203 is close to that on this chest. We 
think the application of the miniature drops on the panels is not happy, 
especially as they are not fully carried out. The panel work, however, 
on the drawer, is attractive. The very large split turning on the leg 
stiles calls our attention markedly. In another piece, having a turning 
as large, it is shown lower down, so as more fully to simulate a leg. This 
chest is all of oak except the lid, drawer bottom and back, which are of 
yellow pine. 

Size: 31 by 294 by 19 inches, excluding the moldings and the lid of 
the overhang. The feet are now only 54 inches long. 

No. 45 is a very handsome chest with the side panels arched and an 
attractive group of four central panels with nail heads. This chest was 
found in southern New Hampshire where it had been for a very long 
period. The lid and panels are oak. It strongly resembles English 
chests and other chests already referred to in this connection. It has, how- 
ever, been in this country long enough to become acclimated and to receive 
its citizenship papers. It has a very attractive beaded mold and the 
unusual paneling of the end is obvious. 

We are continuously met by a small class of pieces like this all in oak 
in chests and court cupboards and sometimes in chests on frames whose 
origin is not precisely certain. We do not wish to be understood as main- 
taining the certain American origin of these pieces. We only say they 
are probably American. 

We do not remember to have seen chests elsewhere with applied pairs 


92 FURNITURE OF THE PILGRIM CENTURY 


of short drops between the drawers having also such drops at the ends 
of the drawers of a different length, as here. There is a very pleasing 
columnar effect secured by the long drops in conjunction with the arches. 
The ensemble of the chest is most attractive. It is owned by Mary M. 
Sampson of Boston. 

Size: 48 by 31 by 21 inches. 

No. 46 is a board chest, the lid of which has an applied plain bevel 
molding, which laps down upon the body of the chest. The initials and 
the elaborate rosettes are very well done, when we consider that the work 
is on pine. There is also a little flirt of carving on the portion of the 
end near the bottom, just above the break of the lines that run down to 
the floor. 

Size: 414 by 264 by 183 inches. 

No. 47. This chest, with the initials A. B., has the good but rare scroll 
on the bottom rail. The frame is of quartered oak but the panels appear 
to be of whitewood. The ends instead of being paneled in the usual 
fashion are molded horizontally at the rails which are, of course, pinned 
as usual. A board is then inserted between the rails in the fashion of 
sheathed paneling. The bottom rail is extraordinarily wide, about ten 
inches, and is molded to represent a rail with a skirt board. The back is 
a whitewood board rather than a panel. The lid is of pine. 

Size: 42 by 31 by 193 inches. 

No. 48 is a miniature chest of pine with the single arch molding. 
It is of much better character than the plain board pieces, owing to the 
heavy mold at the base and the ball feet. The owner is Mr. Arthur 
W. Wellington of Boston and Weston. 

No. 49, owned by the Metropolitan Museum, has curious triangular 
blocks above the long drops. They somewhat resemble crude capitals. 
The heavy moldings are all stopped on the front. The distinction has 
been made, in this use of molding, between the stile legs and the ball- 
foot legs. It has been thought bad form for the molding to run around 
the ends of the piece in a stile foot chest. In that case No. 30 would be 
challenged. It certainly is very rare in the application of its moldings. 
In the chest before us we have the first highly specialized geometrical 
paneling on the upper drawer, consisting of V’s running in from the ends 
of the drawer and from the division at the center. 

No. 50 is the first ball foot chest of considerable size which we have 
shown. It has the further peculiarity of moldings scrolled in regular 
curves. It bears the initials A. D. 

Owner: Mr. G. Winthrop Brown of Brookline. The long drops are 





go. An ExaporaTELY PaNELED Cuest oF Drawers. 1680-90. 








1690-1700. 


Foot Cuest or Drawers. 


Bau.- 


I. 


9 





Cuest oF Drawers. 1680-1700. 


92. 





93. An Axuui-PinE CuEst or Drawers. 1690-1700. 








94. An Oax Bati-Foot Cursr or Drawers. 1680-1700. ‘ 


space 


agi 


ee EOS es bey 


95. A Two-Part 


Oax CueEstT 


oF DRAwERs. 





1680—90. 


FURNITURE OF THE PILGRIM CENTURY 97 


precisely similar above and below. That is, the turning motive is doubled 
from the center, like the stretchers of chairs. 

The base mold on the ball foot chest is, in the good forms, generally 
heavy, as here. 

No. 51 formerly owned by Mr. Brooks Reed of Boston, is, in spite 
of its appearance, a chest. The fact that the upper part of it simulates 
drawers is, of course, an indication that it was made after chests of drawers 
became well established. We somewhat wonder at this system of orna- 
ment, because the earlier plan, as in the chests previously considered, seems 
in better taste. The drawer element seems to predominate in the mind 
of the maker and he carries his decoration to the top as he had begun 
from the bottom. The early fashion, however, of ending the between- 
drawer molds on the front, obtains here. It will be seen also that the 
true bottom drawer and the top false drawer are alike and that the second 
false drawer is molded with sufficient heaviness to give a blocked appear- 
ance. The back legs of the chest are in the ancient fashion formed by a 
continuation of the frame, and are otherwise called stile legs. The front 
feet are somewhat clumsy but probably indicate an early period. 

No. 52 is a chest belonging to Mr. H. W. Erving. It has three 
panel ends. As appears, it has no rail beneath the drawer. This is an 
unusual form as is the chest below it. Nevertheless we find it in some 
of the oldest pieces, notably in the Parmenter court cupboard, No. 195. 
The feet are somewhat abbreviated. 

Size: 454 by 244 by 184 inches. 

No. 53 is another chest belonging to Mr. H. W. Erving. It has 
the usual oak frame, but pine panels, with a raised panel in the end. 
Whether this is a mark of a later date we do not yet feel certain. In 
any case the raised panel is rare. We have, however, found it on an 
oak cradle of the very earliest period. It seems to have been considered 
an unnecessary thing. Of course it strengthened the panel by making it 
thicker and improved the appearance of the chest at the same time. 

Size: 413 by 284 by 184 inches. The difference between the hight 
of this and the preceding is seen to be chiefly in the legs, those on this 
chest being the proper length. 

No. 54 is a plainer chest than any we have hitherto featured. All 
the panels, including the three at the back, are of oak. The lid is of 
pine and is seemingly original. It is molded on the front only. The 
stiles in the back were not smoothed at all after riving. This is the first 
instance we have seen of this kind, though leaving the backs of the back 
panels rough, as in this case, was common enough. Some question has 
been raised in relation to the chamfering of the legs. What purpose 


98 FURNITURE OF THE PILGRIM CENTURY 


was conserved by thus cutting them away is not apparent, but the cut is 
very old and some good judges have thought it original. This chest 
affords an interesting opportunity to study the decoration around the 
panels. It will be seen that the top rail-molding, against the panel, fades 
away as it approaches the inside stile. Thus over the central panel it 
fades away at both ends. This construction is always a mark of early work. 

Size: 47 by 29 by 204 inches. 

No. 55 is an oddly molded oak chest. The owner is Mr. Dwight 
Blaney of Boston and Weston. All the oak of this chest is quartered 
including the panels. The drawer is peculiar in that the top and bottom 
of it are so constructed as to blend with the repeated moldings, and to 
hide its outline. We do not remember another chest with so much of 
repetition in the molding. The effect is interesting. 

No. 56 belongs to Mr. H. W. Erving. It shows no very great devia- 
tion in style from some that have preceded it. Instead, however, of 
the turned drops flanking the drawer and dividing it in the center, we 
have sets of triglyphs matching those on the top rail. The effect of so 
many of these ornaments is to increase the apparent hight of the chest. 

The moldings are of Spanish cedar. There are two panels in the 
ends. The quartering of the panels shows with fine effect. The blocks 
when placed around the panels, as here, are called center side blocks, as 
distinguished from corner blocks. ‘They are, of course, always applied. 

Size: 454 by 33 by 20% inches. 

No. 57 is the first example we have given of an oak six-board chest. 
Its plainness is relieved by the gouge carving at the ends of the molded 
front. The molding on the joints in front is similar to that of the 
earliest wall sheathing. The chest was formerly owned by Koopman’s, 
Boston. 

No. 58 is the first example to be considered wherein the oak stile feet 
are cut off slightly below the frame, and continued with ball feet. This 
construction, while unusual, is not unique. Another feature of interest 
in this chest is the application of thin blocks surrounded by molding in 
the center of the panels, as bases on which to impose the turtle backs. 

The turtle backs on the upper rail are of odd shapes and we think no 
better on that account. The diagonal setting of the turtle backs on the 
drawer should be observed. 

Owner: Mr. G. Winthrop Brown, of Brookline. 

No. 59 is a small, somewhat late board chest, with carving more in 
the style of the Sheraton period than anything we have hitherto shown. 
We presume the carving to be original although it is very unusual on 
chests. The central decoration is quite similar to that on a corner cup- 


SYA 


96. Warnur Cuesr or Drawers. 


97. Litre Cuest or Drawers. 


a 


1690-1700. 





1700-10. 


a 





tbs 


98. 


An Oax ano Watnut Cuest oF Drawers. 1690-1700. 





99- 


Oax anv Pine CueEst oF Drawers. 


1690-1700. 





vista. 


at 


FURNITURE OF THE PILGRIM CENTURY IOI 


board of unmistakable early character. We do not pretend to the capacity 
of being able to ascertain in every instance whether carving is recent or 
ancient. It is probably the most difficult of all questions, when the imi- 
tation is well done. Far better men than the writer have been grievously 
deceived in this matter. Brushes are used to give the grain of the carving 
an aged effect. One coat after another of paint is applied, then perhaps 
washed off in part. 

Size: 32 by 143 by 12% inches. 

No. 60 is a chest belonging to Mr. Dwight Blaney. The large applied 
turnings on the leg stiles are almost identical in style, size and placement 
with those on No. 44, though the smaller drops are different from that 
chest. They appear, however, to be more in harmony with the large end 
drops. ‘This chest is left in an unrestored condition. It is obvious that 
at one time there were moldings on the drawer. 

No. 61 is owned by Mr. H. W. Erving. The channel or shadow 
molds are strongly emphasized as was the intention, being painted black 
originally and properly. The end panels are supplied with blocks to 
give the effect of Greek crosses, whereas the central panel has triangular 
blocks forming an octagon. The entire front is of strongly featured oak. 
There are two panel ends. 

Size: 43 by 31 by 204 inches. 

No. 62 is a highly decorated chest. The owner is Mrs. Hulings 
Cowperthwaite Brown, of Boston and Brookline. The chest was inherited 
from the Waters Estate. The ball feet are somewhat smaller than is 
usual. The paneling is very odd, especially at the sides. The application 
of the turtle backs on the top rail seems odd and we are led to wonder 
whether or not there may not have been others. Perhaps the effect, how- 
ever, is as good in the form in which the piece stands. 

No. 63 is a chest with highly featured oak, and excellent ball feet. 
This chest was found with fourteen of the sixteen original ornaments in 
place. The paneling of the drawer is peculiar and gives the appearance 
of two miniature drawers at the ends. The design of the middle panel 
should be observed. Usually the small oblong divisions were at the 
bottom of the middle panel. 

It will be noticed that no ornaments whatever are applied on the top 
rail. This may be owing to the unusual beauty of the oak in that mem- 
ber. The feet are of flattened balls almost in the onion shape, technically 
so called. 

No. 64 is an all pine chest with turnip feet. This is a term roughly 
applied to most ball feet, but we think it more appropriate when there 
is a small necking above the ball as here. The feet behind are simple 


102 FURNITURE OF THE PILGRIM CENTURY 


continuations of the boards. The single arch molding we consider arbi- 
trarily as ten years earlier than the double arch molding. All parts of 
this chest are original. 

Size: 35 by 39 by 174 inches. 

No. 65 is an amazing example of reversion to an earlier period. 
While the date is very plainly marked as 1776, some of the features 
of this chest would have been appropriate a hundred and fifty years 
before that date. This remark applies to the architectural arch. The 
great extent of the imbricated carving is also startling, as is the highly 
elaborate double rosette at the top of the side stiles. ‘The bracket also 
belongs to an earlier period. As we recollect this chest it is in walnut. 
It belongs to Mr. Stanley A. Sweet of New York City. 

No. 66 is our first example of a chest with complete painted decora- 
tion. 

The owner is Mr. H. W. Erving, who purchased the chest when it 
was entirely covered with a thick coat of brown paint, which was very 
old. He carefully removed this paint, and the figures as seen here all 
came out, and have simply been touched up line for line with absolute 
fidelity. An interesting circumstance has been brought out by the removal 
of this protective coating of paint. That is the great brilliancy of the 
original coloring. It has often been supposed that the reds and greens 
on these old pieces were soft. They were quite the reverse. Our an- 
cestors had so little color in their lives that they were somewhat lavish of 
it on their furniture. The truth obliges us to state this fact, although 
it proves that their taste in design was better than their taste in color. 

As retraced the painting on this fascinating little chest teaches us 
several things. The background appears black but is a few shades off, 
rather green-black. 

We have noted in other pieces that the black will change to bottle 
green. The thistle blossoms and buds and crown are most intense and 
varied centers of color. They are to be compared with the decorated 
chest of drawers No. 100, and the bird on the end should be compared with 
that on No. 71. 

The material on these decorated chests or chests of drawers is usually 
of whitewood, at least on the front. In some instances they are pine 
on the ends and the lid is of course generally pine. We shall later dis- 
cuss their connection with Moravian furniture. Their origin is Connecti- 
cut, on the Sound, perhaps twenty miles east and west of New Haven. 
Our present example was a miniature. 

Size: 254 by 19 by 164 inches. 

No. 67 is a new feature in chests to be considered. Although it is 





1690-1700. 


DecoraTED WuiTEwoop CHEsT oF Drawers. 


100. 








1700-20. 


Cuest oF Drawers. 


E 


LittLe Pin 


101. 





FURNITURE OF THE PILGRIM CENTURY 105 


oak it is decorated. The inadequacy of photography does not show clearly 
the design which covers the panels and the drawer front. The chest is 
from Branford, Connecticut, and is owned by Mr. George Dudley Sey- 
mour. The painting is evidently imitative of contemporary English 
imitations of lacquer work, brought into England from the far East. The 
end panels are in a thistle down design. The central panel bears the 
painted date. The chest is now in the Wadsworth Atheneum, Hartford. 

Size: 484 by 323 by 204 inches, including the lid overhang. 

No. 68 is a chest belonging to the estate of Mr. George F. Ives. 
The chest has lost its feet, but is otherwise in good condition. The 
painting is distinctively different from the designs we have hitherto shown. 
It exhibits a considerable freedom and no small degree of artistry. It 
will be seen that the base carries much the same design as the portion 
immediately under the lid. Apparently to give room for a handsome 
spray between the drawer panels, the latter were set very far apart. 

There is a large tulip on the ends as on No. 102. 

Size: 42 by 40 by 20 inches, to which we should add about 4 inches 
for the original hight. 

No. 69 brings us back to another painted oak chest. This piece has lost 
its drawer. Its great oddity is the ball feet attached to the extended 
stiles. Another unusual feature is the raised panel at the ends. The 
chest was found in New England, painted a heavy red. When this was 
removed quaint tree decoration was found on the side panels, and on the 
central panel what appear to be painted imitations of bosses. The numer- 
ous channel molds are all black and so are the small moldings applied 
around the front and end panels. The back has one large panel of pine. 
The front and end panels and the original lid are of pine. 

Size: 43 by 303 by 18% inches. The length of the leg below the 
end rail is 64 inches including the ball, and the ball is 3 inches to the 
extended stile. 

No. 70 is another oak chest with decorations. In this case they are 
of the sort called sunburst, and appear on the front panels only. Instead 
of a molding around the drawer there are a black and a red stripe dividing 
the drawer into two painted panels. There are two long vertical end 
panels. The panels are oak, including the single long horizontal panel 
behind. This chest came from Connecticut, and, like many from that 
neighborhood, has a bead on the front of the lid, rather than the thumb 
nail mold on three sides. 

Size: 43 by 22 by 204 inches. The stile feet are now 6 inches long. 

No. 71 is another painted whitewood chest which belongs to the 
state of Connecticut and is in the Stone House, at Guilford. The decora- 


106 FURNITURE OF THE PILGRIM CENTURY 


tion on the upper panel is very like that on one of the drawers on No. 101. 
The frame is of oak. 

Nos. 72 and 73 are miniature pine pieces. No. 72, on the left, has 
two little drawers and the single arch molding. The lid is 19 by 13 
inches. It is 163 inches high. 

No. 73, the other chest, with the heavy base mold, ball feet and double 
arch molding, is a successful effort to secure good style with simple 
material. 

Size: The top is 23 by 133 inches. It is 20 inches high. Both pieces 
are owned by Mr. Chauncey C. Nash of Milton and Cohasset. 

No. 74 is a most interesting example, because it continues the tradition 
of oak for a material and carving for a decoration, but in its construction 
is a six board chest. 

The carving on the drawers is fluting. The three hearts carved over 
the elaborate lunette, and indeed interfering with them, seem like an after- 
thought. They probably indicate that the chest was a dowry piece. 

All the moldings are carried around the ends, a feature very rare in 
this method of construction. This chest was bought in Boston, but was 
probably found in Connecticut, the discoverer not being living to verify 
that statement. The piece was formerly in the B. A. Behrend collection. 
The year given as the date is carved on the till. 

Owned now by Pennsylvania Museum. 

No. 75 is a small decorated piece of pine. It will be observed that, 
curiously enough, the decorator carried his scrolls across the whole front 
ignoring the drawer divisions. We find here the much loved and often 
repeated tulip blossom. On the bottom drawer, however, the designer 
became more ambitious and sketched two birds which we may fondly hope 
are doves. 

The piece belongs to the southern Connecticut type. 

Owner: Mr. Chauncey C. Nash. 

No. 76 is owned by Mr. G. Winthrop Brown of Brookline. It is 
another example of a six board oak chest, carved. It has elaborate lunettes 
resembling but not identical with those on No. 74. There is also a 
band of imbricated carving below the top section, and a “ pencil and pearl ” 
decoration just above the drawer. There is also immediately under the 
lid a plain serration which suggests the Plymouth chest. At the ends of 
the front we have the quite usual gouge carving. Whether this was easier 
to work than a mold, or for what reason it is so frequent, we do not know. 

The drawer of this chest is pulled by reaching under the front, so 
that it requires no knob. This omission of a rail below the drawer, while 
a rare feature, is, nevertheless, found on some of the oldest cabinet pieces. 





103. A FremisH-LeEGceEp HicHBoy. 1680-1700. 


: _ 
eh ekg ¥ age sees i 


104. A ParinreD HicHBoy. 1700-10. 





ag penn 
a a 


| 


105. 


A Five-LeccEep 


Hicupsoy. 


a erent 





1690-1710. 





’ 
ts 


106. A ButTTrernut HicuHBoy. 





1690-1710. 


FURNITURE OF THE PILGRIM CENTURY III 


Size: 283 by 233 by 18 inches. While we have not the dimensions 
of No. 74, that chest also is small. 

No. 77 marks the transition to the plain chests of the eighteenth cen- 
tury, but it has not quite reached their perfect simplicity of design. It 
has more pleasing lines. A single arch molding is also carried out through- 
out. It is owned by Mr. G. Winthrop Brown. 

No. 78 is most unusual in that the ends as well as the front are carved. 
The carving is simple but effective. We have on the lower panels a 
starfish design, which is merely a variant of the Gothic wheel window. 
The other carving, principally in discs or semi-circles, predominates. The 
serrated motive, doubled so as to form a zigzag ribbon, appears on the 
top and the bottom rail and the outside stiles, and the single serration 
under the lid on the ends, whereas the rest of the ends follow in general 
the decoration of the front. Two other oddities of this chest are its 
framing. It is mortised entirely through the front stiles, the ends of the 
tenons frankly appearing. ‘The lid, also, is fixed in position in the rear 
and breaks with the movable portion in a grooved joint. Thus the 
chest has no hinge, but when unhasped the front was lifted as usual. 
The piece was found in southern Connecticut, and most of the material 
is yellow pine. 

Size: 424 by 30% by 18 inches. The legs are 64 inches long. The 
front of the lid is formed by a band vertically thicker than the rest of the 
lid, for what purpose does not appear. 

No. 79 is a simple chest of interesting construction. It has the scrolled 
bracket end. A slight effort at decoration has been made. The front is 
sheathed with boards molded at their matching in the manner of the best 
early house sheathing. There are also brackets between the frame and 
the ends. They indicate the survival of an earlier style and add much to 
the chest. The lid has the most elongated thumb nail molding we have 
seen. The original lock seems to be in position. 

Origin: New England. Size: 49 by 24 by 17 inches. The material 
is all yellow pine. 

No. 80 presents an interesting variation from the ordinary pine chest 
in its circular central panel, and in side panels carved to correspond. It 
is to be observed in this and many other interesting instances that the 
panels were carved in the solid wood, and are therefore only simulated. 
Thus what began in joined furniture as a structural feature was, when the 
age of paneling passed away, sometimes retained as we see it here. 

Owner: Mr. George Dudley Seymour. 

Size: 484 by 23 by 17 inches, including the lid. The chest was found 


112 FURNITURE OF THE PILGRIM CENTURY 


in the Captain Charles Churchill house, Newington, Connecticut. The 
original coat of red paint is intact. 

No. 81 is a pine chest relieved from plainness by the oddity of the 
shoes upon which it rests, by the projected base and by the gouge carving 
at the corners. It also has scratch carving, running around the front, 
which is scarcely discernible in our picture, on the left side. The owner 
is Mr. George Dudley Seymour. 

No. 82 is a style known to exist in at least three examples. Its marked 
peculiarity is the heavily blocked central portion of the panel ornamenta- 
tion. The panels are painted black, as are also the incised (channel) 
moldings on the rails and stiles. The applied moldings are painted red. 
A peculiarity is the running of the molding on the outside stiles down 
through the width of the drawer. The chest here shown was formerly 
in the collection of Mr. George Dudley Seymour and is now owned by 
Miss Mary Miles Lewis Peck, of Bristol, Connecticut. It is an heirloom 
of the Lewis family of Farmington. It was found in Bristol, an offset of 
the town of Farmington, by Mr. Seymour, about 1895. 

Another chest almost precisely like this is in the author’s collection 
and a third was found by Mr. Seymour in 1920. The three chests appear 
to have been made by the same hand. 

The material in every case is of whitewood, the close grain of which 
was well adapted for decoration, and more highly regarded than pine. 

No. 83 is a chest with numerous small panels similar to overmantel 
decoration. The middle panel is relieved by three flutes. The brackets 
of this stile, while they survive for an earlier period, frequently appear 
on early eighteenth century chests of the better class. 

The owner is Mr. Edward C. Wheeler, Jr. of Boston. 

No. 84 and the larger chest under it, No. 85, are doubtless intended 
to go together, and were perhaps made for a mother and child. Or 
perhaps the more valuable articles were kept in the smaller piece. There 
is one drawer in each chest, the other drawers being simulated. The 
scroll board at the bottom, variously called the skirt or valance, is a 
feature which always adds a good deal to furniture, if the style permits 
it, as here. These pieces are owned by Mr. George Dudley Seymour, 
and are at present in the Wadsworth Atheneum at Hartford. 

The size of No. 84 is 204 by 17 by 114 inches, including the lid. 
The size of No. 85 is 284 by 244 by 13 inches, including the lid. 

With these chests we conclude the examination of this subject except 
for the two chests appearing on the last page of this volume. We be- 
lieve every well known type of American chest is represented, as well 
as many others that are too rare to be reckoned in any class. 





107. A Cross-StRETCHER HicHBoy. 1710-20. 


[ 
ri 





1690-1710. 


Bone Watnut HicHsoy. 


HERRING- 


108. 


‘AeoCaee SWEET mM EALERTS RINSED SBI meant 


PARR 6 


a 








1700-10. 


A HeErrinc-BonE Watnutr HicHBoy. 


109. 





110. Herrinc-BonE Watnut HicHBoy. 1690-1710. 


CHESTS OF DRAWERS 


‘Turse are neither so important, so early nor so good as the chests. 
In their period also they are not so numerous. This is accounted for 
by the fact that chests of drawers no sooner began to come in, in the form 
in which they evolved from chests, than the high chest of drawers was 
developed. This style, otherwise called the highboy, prevented the 
further development of the low chest of drawers. It is impossible to 
say now when the first oak chest was made in America. We can estimate 
the date within about a score of years. We find them about 1660. The 
style seems to have followed the oak chest as known among us, for about 
thirty years. It is a far more convenient article of furniture than is 
a chest. 

No. 86 represents such a chest of drawers owned by Mr. George 
Dudley Seymour. We feel, however, that the brasses on this chest make 
the date we have assigned to it at least ten years too early. A peculiarity 
in the piece is that it is made in two parts and is separable at the center, 
being kept from slipping out of place by dowels, as well as by the molding, 
originally. | 

This separation should be covered by a molding. The piece is shown 
as it was found in the rough state without the molding. It is said that 
the piece was brought into Boston from Dedham. It was put in order 
by Patrick Stevens, then employed by Robbins Bros., of Hartford. 

Size: 563 by 383 by 204 inches, including the overhang. 

It will be seen that the hight is such as would naturally develop from 
a chest. 

No. 87 was in the Waters collection. The extraordinary amount of 
ornament upon it is typical of a good number of pieces made as the 
seventeenth century drew to its close. It will be seen that the first and 
third drawer are alike in ornament, also the second and fourth, on the 
end panels. But even here there is a variance in the central panel. It 
will be noticed that No. 86 had a two-panel end, whereas this has a 
four-panel end. The drops on this piece are incorrect, and have now 
been changed. 

The molding in the very top element suggests that on a Plymouth 
chest. The panels in front are all of oak. 


117 


118 FURNITURE OF THE PILGRIM CENTURY 


Size: 46 by 433 by 213 inches. 

No. 88 is a chest of drawers in which all the panels are oak including 
the two vertically long back panels, and the end panels. The drawer 
bottoms are pine, as is also the lid but the backs of the drawers are riven 
oak. The molding immediately under the lid is a series of close set 
dentils. ‘They are really not much wider, in the openings between them, 
than saw cuts. The large moldings on the front are cut off square and 
do not return. The piece is agreeably small. It was found in eastern 
Massachusetts in 1922. 

Size: 30 by 36 by 20 inches. 

No. 89 is a little table chest of drawers, all of pine. The heavy 
moldings give it character and dignity. The drawers show an interesting 
increase of depth from the top to the bottom one. This is the first piece 
we have shown with the overlapping drawer front, a mark of the coming 
in of eighteenth century work. The drops are not original. All other 
parts are original. 

Size: 15 by 234 by 10 inches. These dimensions do not include the 
very broad base which is 19 by 114 inches. 

No. 90 is an oak chest of drawers formerly owned by Mr. Brooks 
Reed. No one can say that the front is monotonous. The top and the 
bottom drawers, which are alike, are very boldly blocked. The other 
two drawers are narrow and also are alike. The stiles are treated by 
applied moldings, as a series of small panels. The heavy moldings are 
returned on the front. It would appear that the base should have had 
a molding. 

The end panel is built up with a series of moldings together with a 
central block on which a boss is affixed, resembling a chest we have already 
treated. 

No. 91 is an oak chest of drawers, the top and bottom members of 
which resemble those in the chest of drawers Mee discussed, except that 
they are somewhat lighter in effect. 

The piece was found in Connecticut, and came immediately from the 
Henry Stearns collection. 

One mark of a somewhat later date than the chests hitherto treated 
is the square stile legs. Previously we have had them larger and in a 
flat section. 

There is an amusing variance between the huge foot and the small 
stile. We have shown this fashion in one or two earlier examples. The 
front panels, the large end panel, the single long horizontal back panel, 
and the lid are of yellow pine. The end panel is heavily blocked in the 
fashion called bolection molding, and resembles one or two already 





Bie a cde acacia 


111. Smart Drawer HicHBoy. 1690-1710. 





112. A SimpLe HicHBoy, wirHoutT STRETCHERS, 1720. 





1710-20. 


Curty Mapre Hicupoy. 


Weg 





114. A SimpLe Five-Leccep HicHpoy. 1690-1710. 


FURNITURE OF THE PILGRIM CENTURY 123 


treated. The moldings are painted red, and the blocks and feet black. 
The piece has been restored to a considerable degree. 

Size: 392 by 38 by 193 inches. 

No. 92 is a chest of drawers the picture of which is furnished by Mr. 
H. V. Weil of New York City. The end panel is raised and has bolection 
moldings. The ball feet are attached in the more usual manner directly 
to the frame. The piece is not a miniature, but, by accident, is shown on 
a small scale. | 

No. 93 is an all pine chest of drawers formerly owned by Koopman’s, 
Boston. While it is made of boards instead of being framed it has many 
of the features of the earlier period. The end terminates at the bottom 
with a series of scrolled openings reminding one of Gothic arches. The 
heavy single arch molding is prominent. We would presume that it had 
lost such part of the feet as would naturally be missing through attrition. 
We have here the first chest of drawers in which all the drawers are alike. 
The style of dividing drawer fronts in this fashion is called geometric 
molding. 

No. 94 is an oak chest of drawers owned by Mr. George Dudley Sey- 
mour. The center panel on the top drawer contains the initials R.B. The 
center panel of the drawer below has the initials A.P. The chest ends 
are two panels separated by the returned ends of an applied molding 
extending between the two upper and the two lower drawers. The other 
applied moldings between the drawers do not follow around the end. 
The ball feet again are attached to extended stiles. The single set of 
triglyphs seem a trifle lonely. Is it possible that the piece bore others on 
the stiles? | 

Size: 454 by 32 by 20 inches, including the overhang. 

No. 95 is a two part chest which has the molding to cover the joints 
of division. The owner is the estate of J. Milton Coburn, M. D. 

The applied ball-turned molding is an odd feature. The decorated 
moldings on the second and fourth drawers are more conventional but 
perhaps not as gracefully arranged as we usually find them. 

With No. 96 we reach the first object shown in this volume in walnut. 
The age of walnut in England began somewhat earlier than in America. 
This is a case where walnut was used with an oak stile, rather than in the 
turned stile. This attractive little chest has the stiles divided into small 
panels as was the case with No. 90. The four drawers are all alike. 
There are two end panels side by side, vertically. The piece has under- 
gone some repairs. The handles are not original. 

Size: 384 by 334 by 21 inches. 

No. 97 is an attractive little quaint piece, the photograph of which is 


124 FURNITURE OF THE PILGRIM CENTURY 


furnished by Mr. H. V. Weil. The handles of course are of the size 
usual for a large chest of drawers and therefore display humorously the 
contrast between the size of the drawers and the handles. The single 
arch mold, the heavy base mold, and the ball feet establish the date. 

No. 98 is another chest of drawers in which the frame is oak, and 
most other parts walnut. Thus we see the transition between the two 
woods. The top is half inch walnut. The frame and the end rails are 
of oak. The end panels are of pine, there being two, one above the other, 
sunken, with perfectly plain rails and stiles. The drawer fronts are 
pine covered with an eighth of an inch walnut veneer, and all the moldings 
are of walnut. The piece has the groove side runs on the drawers, indi- 
cating a date not later than 1700. The feet are pieced and are in the small 
square section of the somewhat late chest of drawers, which followed the 
analogy otherwise of the oak chests of drawers. 

Size: 36 by 33 by 22 inches. The moldings project to give an 
over all length, top and bottom, of 39 inches. 

No. 99 is an oak and pine chest of drawers in the former collection 
of the author. The width of the stiles is quite noticeable, but there was 
no evidence of drops ever having been applied. It is impossible, how- 
ever, in every case, to know whether there should be drops or not. Fifty 
years or so after such a chest was made some of the drops would naturally 
try to justify their name. When part of such ornaments were gone, it 
was common to eliminate all of them, and to refinish the piece. As they 
were ordinarily applied by glue, there is now no means of knowing except 
by analogy, whether drops orginally existed. 

The most interesting feature of this piece is its excellent ring drop 
handles and rosette plate and ’scutcheons. 

No. 100 exhibits for the first time the full development of the painted 
decoration. ‘The front of this piece is in whitewood, the ends and lid 
and drawer interiors are pine. The frame is of oak. The two short 
drawers at the top are identical in decoration and attractive enough, had 
not the artist essayed the conceit of a human face, into the lips of which 
is caught the stem of a spray of blossoms. The three long drawers are 
each decorated with separate motives. The flower pot design, in the 
drawer above the bottom drawer, is found, with some variation, on the 
Pennsylvania German pieces, the inspiration of which very likely came 
from Moravia. In Moravia we find the same flower pot motive, used 
on a very great number of pieces. The design on the bottom drawer is 
that already shown on a chest. We have the thistle blossom surmounted 
by a crown. At the right is the rose and at the center the fleur-de-lis with 


‘ 





‘ 


1690-1700. 


SYCAMORE AND ApprpLEwoop Hicupoy. 


115. 








1670-80. 


ARCH-AND-STAR CHEST-ON-FRAME. 


TO: 





117. A Carvep CHEST-ON-FRAME, 1670-90. 


Riel a 


Ke 





118. SmaLu-PaneL CHEsT-oN-FRAME. 1690-1700. 


FURNITURE OF THE PILGRIM CENTURY 129 


the crown. These arms of England evidently have nothing to do with 
Moravia. They are a kind of patriotic expression. | 

The end panel is boldly done in a very large tulip stem surmounted 
by a fully opened blossom, under which there depend, one on either side, 
a large bud. The importance and the interest of the tulip bud and 
blossom as a motive for hundreds of years can hardly be overestimated. 
In Holland the national flower was the natural object to delineate on 
furniture. We have seen the tulip carved on all the so-called Hadley 
chests and on the sunflower chests. It will appear later in household 
hardware form, latches, hinges, etc. This piece of furniture has its paint- 
ing in better condition, and, on the whole, is rather more elaborate, than 
any other to which our attention has been called. The drawers are made 
in the early style, with side runs. The feet have been pieced about three 
inches. ‘The piece is otherwise original. 

Relating to whitewood as a material, it is perhaps more attractive 
when it is called tulip wood. This wood is commonly found in New 
England, and for fifty years has been a cheap commercial finish wood. 
The tree grows to a lofty stature, and excites wonder in European botanists 
who visit us, and find a flowering tree of such size. The wood is semi- 
hard, of close grain, and none that is apparent. It is therefore a good 
material for decoration. It is an odd coincidence that the tulip should 
have been painted so much upon tulip wood. 

Reverting to the coloring, the border tendrils are nearly white. The 
flowers are in shades of yellow, old red, pink, etc. The sprays and foliage 
are very delicate, and are done by an assured hand. Birds appear facing 
one another, on the outer leaves of the fleur-de-lis. Their necks are long. 
Let us call them pheasants. We note a tendency, as we approach 1700, to 
raised panels in the ends of cabinet pieces, although we find occasionally 
a raised panel, as in a cradle to be shown, of a date a great deal earlier. 
Also we notice a tendency to flatten out the curves of the base molds 
until eventually we get the mere bevel, such as appears in No. 98. 

We notice also the substitution of brass drop handles for the wooden 
knobs, in all classes of furniture except tables. 

Size: 42 by 43 by 19 inches. 

No. 101 is a little board chest of drawers of the Harry Long col- 
lection. These little pieces are sometimes called child’s chests of drawers. 
The end handle perhaps indicates that the piece was set upon a larger one. 

No. 102 is the end view of No. 100 and has been discussed. 


HIGHBOYS 


‘Tue highboy, called in England a tallboy, is merely a chest of 
drawers set on a frame. Wherever a sense of style works strongly 
it immediately tends to an extreme, as some of us have noticed in rela- 
tion to feminine apparel. 

No sooner did the feeling of discomfort, at stooping over chests, 
get well into the blood of the people of 1700, than they began to place 
their chests upon legs. They then made so many drawers in their chests 
and the legs so long, that they were obliged to stand on stools to get 
into the upper drawers. The highboy in some form or other reigned 
supreme for eighty odd years. It was matched by the lowboy, which is 
only another name for a dressing table. The chests of drawers had an- 
swered for dressing tables to some extent when they were low. The high- 
boy and the lowboy therefore went together to form a proper complement 
for a chamber. The highboy was longer, higher and deeper even as 
regards its frame, than was the lowboy. At the present time there are 
a large number of highboy bases being shown as lowboys. It is only 
necessary to sit down at one to learn that it is not of a convenient hight 
as a dressing table. Furthermore, the lowboys, with only one exception 
that we know, were so built that it was possible for the knees to go under 
the table, as they could not do in the five or six legged highboy style. 

As the feeling for style passed out it was the custom, throughout 
the nineteenth century, to divide a highboy between two daughters, of 
whom the one took the top and the other the bottom. It was almost 
as bad as Solomon’s proposed division of the baby. The parts cer- 
tainly are incongruous and unrelated, and are neither one of them worth 
more than half of a baby. 

Slowly and painfully the effort is now being made to reassemble 
the separated units. Negotiation, following search, and sometimes liti- 
gation following negotiation, goes on, to bring the lost members into 
place again. 

In No. 103 we show a highboy supposed to be of American oak. 
The base scrolls following the Flemish design seem to be bass wood. 
Poplar is also sometimes used. ‘There is another highboy of this style 
in Connecticut, and a third in the collection of Mr. Luke Vincent Lock- 


130 





Mah alien ule 


119. Spray DecoraTep CHEsT-ON-FRAME. 1690-1700. 


oS peeneerenn 





PRE I A SH at 





120. TURNED CHEST-ON-FRAME. 1690-1700. 





121. SPOOL-TURNED CHEST-ON-FRAME. 1680-1700. 








122. BaLu-TURNED CHEST-ON-FRAME. 1690-1700. 


FURNITURE OF THE PILGRIM CENTURY 135 


wood. We have also recently seen an English importation of such a 
piece. 

The clumsy heavy scrolls of the chest suggest the inspiration of the 
awkward, nineteenth century, degraded Empire style. 

With the exception of the cap board this piece is original. 

The age of highboys is indicated in part by the frame on which they 
stand; in part by their moldings and in part by the woods of which they 
are constructed. 

The five legged pieces are more rare than those with six legs. Those 
with four legs are still more rare than either. We do not know that 
there is any special merit or value of one style over another, as far as 
the number of the legs is concerned. 

The long drawer in the frame is the mark of an early type, it being 
the survival of the chest fashion. The piece before us has a flush drawer. 
That is to say, the face board of the drawer has no lip or rabbet pro- 
jecting over, and covering, the joints on the frame. 

The name highboy was doubtless a sly joke at the stilted appearance 
of these pieces of furniture. These pieces began with flat tops and we 
show no other type. The “bonnet top” came in with the cabriole leg 
about 1720. For that reason the so-called six-legged highboys are more 
in request, although they are not as decorative, at least at the top. This 
lack of design in form was made up largely by the beauty of the walnut 
or maple veneer so common on this class of furniture. Steps to hold 
a display of pewter or other ware, were often placed on these flat tops. 

It will be observed that the frame or base of the highboy invariably 
extends considerably beyond the top. A wide and heavy mold was 
applied at the edge of this base, to afford a framed enclosure to receive 
the top. 

The piece before us probably originated in Connecticut. 

Size: 394 by 213 inches, on the body of the frame; 37 by 19% inches 
on the body of the top. The hight is 48 inches over all. The moldings 
extend these dimensions 24 inches in length and 14 inches in width. 

No. 104 is a painted highboy with something the same decoration 
as appeared on No. 101. In fact the more closely we study this decoration 
the more we do find points of connection. The bad lighting is such as not 
to show the tulip end, which is like No. 101. The piece belongs to Mr. 
James Davidson of New London. We have lacquered highboys though 
we question if they are American. We do not remember another painted 
highboy. 

No. 105 shows a five-legged highboy belonging to Mr. Chauncey 
C. Nash. It is in walnut. In this piece we have the first instance of 


136 FURNITURE OF THE PILGRIM CENTURY 


the so-called chased handles, which are intermediate between the drop 
handle and the willow pattern of the later Chippendale time. It is a 
popular notion that the decorations on these brasses are tooled by a 
graver. Those who have studied the subject carefully, state that the 
ornaments are a part of the casting. 

We have in this piece the single long drawer of the early type. 

No. 106 represents a butternut highboy, in the single arch pattern. 
This term “ single arch ” is simply the description of the half round edge 
cut on or applied to the frame around the drawers. The backs, the lid, 
and the interior of the drawers of these pieces, are pine in this case and 
generally. The pine is sometimes yellow, sometimes white. The legs are 
frequently of a lighter and cheaper material than the rest of the piece. 
The size, on the frame is 254 by 264 by 20% inches, excluding the mold- 
ing. The top is 332 by 294 by 194 inches, excluding the molding. The 
total hight is about 56 inches, therefore. This piece was found in New 
Hampshire in 1922. 

No. 107 is a cross stretcher highboy, in the former collection of 
the author. The incipient pair of legs is represented by the acorn drops. 
The turnings here have a pleasing flare, and are called trumpet turn- 
ings, in distinction from the piece last shown where they are called cup 
or bowl turnings, from a resemblance to an inverted cup, at the top of 
the main turning. 

This highboy and most of those that follow it have a thin lining 
mold, attached to the curves of the scroll, and projecting with a half 
round edge, very slightly. 

The higher arch of the center between the pointed arches of the side, 
is to be observed as a type. 

No. 108 is a highboy with a border, around every drawer, of herring- 
bone veneer, the central portion of the drawer being filled with walnut 
burl veneer. The turning is not so delicate as the preceding one. It 
was bought in Boston. 

As distinct from the preceding which has no molding at all, this 
has a double arch molding. In the frame there is here the single drawer 
with three identical arches below it. 

It was in the author’s former collection. 

No. 109 is a highboy with similar veneer to that on No. 108. The 
piece is in very fine condition and has the three top drawers, the central 
drawer being a little longer than the side drawers. Compare this with 
the two drawers in the top of No. 108, the three drawers of equal length 
in No. 107. Also note that in this case the drawers are flush. The 
dating is probably a little late, since the flush drawer was the earlier. 


a 


‘ianetieersitemairnienn: 


Sf tage mammccteenr gn 





1690-1700. 


Spray DrEcorATED CHEST-ON-FRAME,. 


123. 


se RN 
’ ko erate eaten 


ee gia 
ete 


A, ee ee ee oe ee SER Re le 2 ME 


manape aa 


a AA RE INS CRIP NIE I a m na ae 
’ ree nN AAA AML LALLA EDT OOD: SRS 


kl MENA 2 EM 





124. InrraLeD OaK CHEST-ON-FRAME, 1680-90. 





126. 








125. Lunerre-Roserre Box. 1670-90. 





Oax Box witH PaneExs AND Drops. 1680-1700. 


PRO 


127. Pxrain Oax Desx-Box. 1680-90. 


128. 


129. 


A Ponp Lity Box, Ratsep Carvinc. 


DousLe LunetTTe Taste CHEstT. 


os Satta nb) A alana iia oH, S 


1670-90. 


1660-70. 





130. Carvep Oax Box. 1660-90. 





ili na Ras alae aad 





RE tne 


FURNITURE OF THE PILGRIM CENTURY I4I 


Size: Over all, 424 by 62 by 23 inches. Size of upper frame: 37 
by 30% by 204 inches. 

No. 110 belongs to Mr. Edward C. Wheeler, Jr. It is one of the 
most beautifully preserved pieces we have seen, every part being original 
and the veneer in fine condition. It is in the herringbone pattern. Having 
a flush drawer it is early. This piece has never been cleaned. 

Size: The frame is 384 by 214 inches in length and depth. The 
upper section is 365 by 20 inches. The total hight is 61 inches. The 
outside front of the frame mold is 404 inches, and 22+ inches from 
front to back. 

No. 111. This is the only highboy we have seen with two small 
end-to-end drawers over the central arch. The scheme of the drawers 
should be examined in all these pieces. The conventional type is sup- 
posed to have three drawers in the frame —deep drawers on the sides 
and a shallow drawer in the center. 

As to the origin of highboys in this walnut veneer type, we are 
more likely to find it here than in Pennsylvania. The supposition that 
Pennsylvania is the home of the walnut highboy should be understood 
as meaning solid walnut, which of course is found there and in the 
South. The turnings in this piece are beautiful, the flare of the post 
being very marked. 

The piece is further distinguished from those we have hitherto con- 
sidered by its torus mold under the cap mold. 

No. 112 is a simple highboy which we feel certain is original. It 
differs from those we have seen by being a little later in date, and in 
the omission of stretchers. In other words it is simplified. Its button- 
like feet indicate turnings of the later Queen Anne type. This piece 
was found by Mrs. E. B. Leete of Guilford, Connecticut. 

No. 113 is possibly a country made highboy. It belongs to the 
estate of George F. Ives. The ring turning on the drops is odd. The 
curly maple of which it is constructed is a beautiful wood, a little later 
in its use than walnut, but paralleling the later walnut period, and con- 
tinuing well on in the century. Of course, the legs have not the boldness 
of turning which we should desire. We have here also a cross stretcher 
such as appears in the lowboy. 

No. 114. This simple piece is a fascinating example made perhaps 
by the village cabinet maker. It has the plain long drawer and there are 
no arches on the frame. The five legs are an effort to adapt the table 
frame style to the highboy style. We hardly know how to account for 
the variations in styles unless it was that the makers did not have the 


142 FURNITURE OF THE PILGRIM CENTURY 


conventional patterns available. Then it was that their ingenuity dis- 
played itself in original adaptations which are now sought after. 

Owner: Miss Mabel Choate, of New York and Stockbridge. 

No. 115 exhibits a highboy belonging to Mr. Horatio H. Armstrong 
of West Hartford. It is of sycamore and apple wood, an unusual but 
very agreeable combination, since sycamore is a very beautiful furniture 
wood. Apple also turns to a hard and smooth surface and takes a polish 
like ebony. Here the single long drawer below, the flush drawers, and 
the single arch molding indicate an early date. The arches, as in single 
drawer pieces for the most part, are alike. The turnings are differen- 
tiated considerably from those usually seen. 


a ae 





131. Rope ScroLttEep TripLe Rosette Box. 1670-90. 


— 





antitebtie »— para le tila cs i i i inn i vB ANNES EN MEAS RTC A 








132. Hapiey Box. 1670-90. 





133. Pine anp Oak RosEeTTE Box. 1690-1710. 


- : <9 





134. Hapiey Box Carvep In THE Round. 1670-90. 


4 
4 
Sica stall 








a Ri 


Se 








Poa inlet 





135. Pine Barz Foor Box. 1690-1700. 


rams 


1374. 


136. Dousite FLurep Oak Box. 1660-90. 


Miniature Box. 


1700. 


137b. 


Fo.iaATED Box. 








1670—90. 


mers nein ieee ean er 





138. FoxtaTep Scrott Oak Box. 1670-90. 





139. Carvep Tuuip Box. 1670-90. 





140. FontaTrEp ScroLt Oak Box. 1670-90. 


SMALL CHESTS-ON-FRAMES 


‘T uese alluring little pieces of furniture excite our interest partly 
because they are small. Any miniature piece of furniture is like a child 
of the human species. We seem to love it more. Another element of 
interest is the greater or less degree of mystery which surrounds these 
pieces. We refer to the long continued discussion as to their purpose. 
Again they win upon us owing to their intrinsic merits and beauty. Last 
of all their rarity of course excites the average collector. 

These pieces have been called almost everything from pulpits to 
washstands. We must deny that they were either of these. Nor do 
we feel that it is the thing to call them desks-on-frames. They are 
always, so far as we know, found with flat tops. There are desks-on- 
frames containing cabinets and surrounded with no mystery. One of 
the pieces to follow was called a tabernacle table, by the three generations 
whose word we have for it. These pieces are quite different from the 
boxes that follow in that those boxes never have drawers as far as we 
have observed. Some of the chests-on-frames, however, have been found 
with removable tops, so that, if taken away from their original stands, 
they are precisely like the boxes discussed in the next chapter. Ordinarily, 
the frame of these pieces, for they all have frames, passes up through 
the base and the box, making a unit of the whole piece, so that it may 
not be taken apart. Like other furniture these chests-on-frames were 
unquestionably used for more than one purpose. As side tables in the 
dining room they would have been convenient. One in the author’s 
possession was always called the linen chest. More generally we may 
presume that they served the purpose of small chests to contain the more 
valuable belongings. No doubt the great Bible was sometimes placed 
in such a piece. We sometimes forget that there is no law compelling a 
distinct and uniform use for a piece of furniture. At the same time 
they are fascinating, and more ornamental than absolutely necessary. 
Few of them seem to have existed. We are treading on a treacherous 
path when we explore the number of any particular style of furniture. 
Still, their date in most cases was not as early as that of court cupboards, 
and there is no reason for their extreme rarity except that not so many 
of them existed originally as of other kinds of furniture. Perhaps thirty 

147 


148 FURNITURE OF THE PILGRIM CENTURY 


more or less are generally known. A half dozen have come to light 
within quite recent years, They belong to that class of furniture that 
never remains in the market long and of which not a single example is 
known to be available now. 

The aristocrat among these pieces is the first that we will discuss. 

No. 116 belongs to Mrs. J. Insley Blair of Tuxedo Park. The frame 
is of oak but the lid and the bottom of the frame and drawer are of 
pine. The American origin of such pieces is much discussed, especially 
of late. We see pieces from England with similar drawer bottoms. 
This piece, however, has been in America for a long time. It was found 
a few years since in York, Maine. 

It has several features which distinguish it, and place it in a class by 
itself so far as our present knowledge goes. One of these features is 
the vase turning of the leg. It is quite in the style of that found on 
court cupboards. If we consider this feature in conjunction with the 
broad stile legs in the rear we are still more impressed by the similarity 
to court cupboard construction. The ball turned stretcher system is another 
important feature. Since this piece was discovered a table has come to 
light with stretchers in the same style, though of smaller size. The 
cross brace doubled stretcher of course gives much strength, and the feel- 
ing of solidity, and adds greatly to the charm of it. The upper part had 
arches in the side panels and an eight pointed star in the center panel. 
These arches should be compared with those shown on a chest. The 
applied ornaments are quite like those on chests and court cupboards. 
This like all other chests-on-frames has one drawer in the frame. It 
will be seen that the ornaments are carried around on the end and that 
there is a diamond shaped applied decoration in the center of the end 
panel. It is somewhat too large to be called a nail head. This piece 
is in an unrestored state. 

We have previously shown the inaccuracy of designating these pieces 
as dower chests. It is an equally loose phrase to term them Pilgrim 
chests. The earliest we know were indeed made in the Pilgrim Century, 
but are no more likely to be found in Plymouth Colony than in southern 
New Hampshire. 

Size: 264 by 354 by 17% inches. 

For the most part these pieces may be thought of as about three feet 
high, two feet long and a foot and a half deep. 

No. 117 is perhaps the next best sort of chest-on-frame with the 
exception of one owned, and shown, with carving, by Lyon. The piece 
before us is owned by Mrs. J. Insley Blair. It is a fine specimen, and 
in its original condition, with the possible exception of the lack of a shelf 





141. Carvep Box. 1660-90. 











142. Carved Oak Two-Panet Box. 1670-90. 





143. Box wiry ImpricaTep Carvinc. 1660-80. 





Ne asia i le lea i cascada Dic dried le ili ick SI alba hic ont Ot i Sal a mac a ae as 


144. FLuTe anp Lunetre Carvep Box. 1660-80. 





145. InTERsEcTING LuNETTE Box. 1670-90. 


ae , r Pa west 4 





146. Axi Pine Lunerre Carvep Box. 1680-1700. 


147. 


148. 





149. 


Friesian Carvep Box. 


AIM ORR pare SORRELL RR NN Appr co 


Pine Carvep Box. 








ABOUT 1736. 





1690-1700. 





150. Curry Marre Desk Box. 1700-20. 


RINININININ: FA NAN IIIA AT AG / N 
YW WNMNVNIG ASOT AN AS NING NY NVENVAN y uy ( 
TAT TAA rANY/ WAS y AV WAN AW NAN 


% £7 , if 

VAAN RAANCS Avs ( 

NANNIES MERE AN , 
TIRING. AM TAVIS 


ie 





151. Aut Pine Carvep Box. 1700-20. 


FURNITURE OF THE PILGRIM CENTURY 153 


on the stretchers. We believe that a shelf was common when the 
stretchers were square. In this case particularly the edges of the stretch- 
ers, on the top, especially on the inside, are quite sharp. The discoverer 
of this piece admits that there was a shelf, but that he regarded it as not 
original, and hence destroyed it. His judgment is to be taken as to the 
particular piece removed. However, it may have been a substitute for 
the original shelf. 

Several chests very like this have been found. In fact the resem- 
blance is so close that we presume they are all made by one person. A 
piece in the possession of the Pennsylvania Museum has an applied mold- 
ing covering in part the front stretcher and in part the shelf above it. 
This mold is cut off flush with the outside edge of the post. The carving 
is intended to be identical with this piece. This piece, however, has one 
strip of applied ball molding on the outside stiles whereas the Pennsyl- 
vania Museum piece had two such strips. The drawers of these pieces 
are practically identical in their carving. The frames are oak and the 
lids pine. The turning is of the earliest character. 

No. 118 is an unusual chest-on-frame, which has been somewhat re- 
stored. The small panel design on the front is like that of the drawer 
of chest No. 44, as are also the slender long split turnings. Compare 
also the court cupboard No. 203 for the similarity of the small panel work, 
and the little split turnings each side of the bottom drawer. These are 
like those on the chests and are the only ones we have ever seen without 
the ball at the bottom. They appear meagre on the court cupboard and 
raise the question whether they were not originally in pairs. The un- 
usual turning here resembles that on No. 121. The brackets and the 
drops suggest seventeenth century tables. This piece is of oak with 
the-initiais S. A. H. 

Owner: Mr. Hermann F. Clarke of Boston. 

No. 119 is a chest-on-frame owned by the Rhode Island School of 
Design. The turnings are somewhat light and therefore indicate a little 
later period than No. 117. The spray decoration also found on the 
panels is an evidence of change in taste. This decoration is usually in 
black on a red ground. We believe that the turnings are in maple, at 
least they belong to the maple period. 

No. 120 is a slight variation from the last in that the stretchers are 
turned and the body is higher in relation to the base. The decorations 
on the panels do not pick out in the picture. 

Owner: Mr. Arthur W. Wellington. 

No. 121 has a character somewhat like No. 116 in so far as the back 
legs are stiles. The simple early period is further carried out in this 


154 FURNITURE OF THE PILGRIM CENTURY 


piece by the use of plain stretchers on the end, the turning being restricted 
to the front. 

On the other hand the false upper drawer is usually found somewhat 
later. These pieces invariably have one drawer, no more, no less. We 
have hazarded this categorical statement, and now await the almost in- 
evitable upsetting of its accuracy by some new discovery. The piece 
before us is of oak with pine lid and panels, but it has been to a consider- 
able extent restored. A cloud rests on the title, as it were. 

Size: 273 by 354 by 16. 

No. 122 is distinguished by ball turnings on every part of the frame. 
The chest is shown as it was. The drawer has since been restored with 
moldings. It is of rather heavy and satisfactory construction. 

It will be seen that the rail under the drawer is molded more boldly 
than is usually the case. The end panel has a chamfered border, whereas 
No. 120 has a raised panel, and the border is not chamfered. These 
little touches have something to do with the date. 

No. 123 is still another decorated piece in good condition and with 
very attractive turnings. The drawer is very deep. The attachment of 
the lid by cleat hinges is obvious. The decorations in this case are not 
confined to the upper panels but are found also on the drawer. 

Owner: Mrs. F. G. Patterson of Boston. 

No. 124 is one of two pieces of almost precisely the same style, and 
with leg turnings, between the stretchers and the body, exactly similar. 
The other piece, which we do not show, has a pine box attached, whereas 
the piece before us has an oak box. These two pieces, with the carved 
Dr. Lyon piece, have their boxes attached by heavy nails to the frame, 
through the bottom of the box. This is a radical distinction from the 
boxes previously shown in which the corner post goes through the box. 
That is to say we have here a table frame with a box set upon it, which is 
in all particulars, even as to size, like the detached boxes which follow. 
This piece came from eastern central New England. That with the pine 
box came from the old tavern kept by the Ballard family in Ballardvale, 
Andover. It was called by the last member of the family who owned 
it a tabernacle table, the name having come down to her from her ances- 
tors. This is an interesting fact as throwing light on the regard in which 
such pieces were held, and the possible uses to which they were put. 
In none of the three pieces mentioned is there any question but that the 
table and box originally went together. No. 124 when found had had 
the faces of the turned posts flattened in order to apply boards to form 
a cupboard. 

Both this and the Ballard piece have notched corners or gouge carving. 





152. 





Miniature Box. 


154. 


ni 


ADA: 


o 


® 


153. 


1690-1710. 


ScratcH Carvep Litrie CuHEst, 


Carvep Desx Box, 


1677. 





1722. 


[55 


A PainTep Pine Box. 


cil ie «a Reet Bai coals 


156. 


1$7. 


ScratcH Carvep Box. 


ScratcH Carvep Box. 


1700-10. 


1700-20. 


1694. 








Basen 














2 


te 


i 





158. Watnut Desk Box. 1680-1700. 





159. Wartnut Desk-Box witH TurNED FEET. 





1700-20. 





sk 








1690-1700. 


-FOOT SECRETARY. 


Watnutr Bau 


160. 


FURNITURE OF THE PILGRIM CENTURY 159 


In the Ballard piece, however, the ends of the lid are treated in the same 
manner, whereas in this case the lid has the thumb nail molding and is 
also of pine. The moldings on these two pieces are identical, and we 
believe them to have been made by the same cabinet maker. There is 
a slight difference in the turning of the feet. We may plainly see, 
between the initials S. A., scratch outlines for a carving design which was 
never carried out. 

Size: 253 by 32% by 17 inches. The Ballard piece is a little smaller 
across the front. 

The name tabernacle table perhaps indicated that a Bible was kept 
in this box. It has been suggested that these pieces were sometimes 
kept on the rear of pulpit platforms and that Bibles were placed in them 
when not in use. This suggestion is quite unreasonable. We should 
be likely to know, at least in some instance, if such a custom had been 
followed. All these pieces bear marks of taste and skill. The fact, 
however, that so few of them are initialed, discourages the supposition 
that they were frequently dower chests. A bride-to-be would undoubt- 
edly resent the supposition that she would need only this little box to 
bestow her belongings. 


BOXES 


We HAVE advisedly used this brief title because there is no reason 
to assign boxes generally to a use restricted by the name Bible boxes. 
There is still less reason to name them desk boxes, if a desk is to be thought 
of as a writing desk. Nor do we feel at liberty to name them miniature 
chests, as a class, although many of them are merely that, having a till. 

Without exception all the boxes which we have seen are built of boards 
not framed. They are generally rabbeted so as to strengthen the con- 
struction and allow the front to extend over the end and yet permit the 
end to be nailed to the front. Perhaps the majority of them are oak, 
but a good many of the later and even interesting specimens are pine. 
The bottom is almost always pine and more often than not projects in 
the form of a plain bevel. It is nailed in place. 

The use of these pieces as receptacles for precious articles is often 
negatived by the lack of a lock. Wherever the piece never had a lock 
and at the same time had no till or pigeon holes it was more likely to 
be a Bible box than otherwise. A considerable number of the large 
ancient Bibles, it is found, will fit conveniently in these boxes. 

The English boxes are quite likely to be carved on the ends. The 
American boxes are generally carved only on the front. The same is 
true of applied ornaments. In America they appear as a rule, only in 
front. The pieces were light and easily movable. Their hinges were 
for the most part cotter pins like those we find on chests. In the case 
of slant tops, however, we find, in several instances, good butterfly 
hinges. 

No. 125 is an attractive and distinctive box belonging to Mr. H. W. 
Erving. The material is oak and the box is initialed. Mr. Erving rails 
genially at the author’s box with the initials B. C. We appeal to a candid 
world, are not the initials B. C. more respectable than B. D.? 

The rosettes on this piece are attractively carved and suggest the 
connection with the sunflower chests of Connecticut. The lunettes are 
cut in a heavy channel mold and their bases terminate quite like the 
vertical flutes. ’ 

The rest of the carving is of the scratch variety. The birds in the 
spandrels of the lunettes are particularly amusing. 


160 


a eT 


161. 


Heavy Pine Desk. 





1680-1700. 





162. Bauu-roor Desk. 1700-10. 





163-169. Iron Lamps. 19th CENTURY. 





170. Smauyu Pine SrRETCHER Desk. 1720-30, 





eens \ 0 ae 


171. Turnep Frame Waxnut Desk. 


Waxtnut Desk. 1700. 





oa ie (1) ear 


1700-20. 


173. Pine Desk. 


Sie) aeieids 





1700. 





FURNITURE OF THE PILGRIM CENTURY 165 


There is a series of incised turned ornaments on the ends. 

No. 126 has the small panels like those shown on the chest-on-frame 
No. 118. In two instances the little turtle backs are omitted to provide 
a space for the initials H. S. This box is mostly original except the lid. 
It was found in Connecticut. The odd little turnings applied, which we 
have mentioned before, are found here, some one end up, some the other. 
We refer to the outside members of the three sets of three each. 

Size: 28 by 10 by 173 inches. 

No. 127 is a very satisfactory piece because it is so completely original. 
It is of heavy oak. The hinges are particularly good specimens of the 
butterfly sort. The slant top and the row of pigeon holes within mark 
it unmistakably as a desk box. 

Size: Over all, 25 by 93 by 19 inches. 

No. 128. Owner: Mr. H. W. Erving. The carving on this box is 
very peculiar for several reasons. So much of the wood is cut away from 
the design that we may call the carving raised. Of course there is no 
distinction between this and other carved designs, like the Hadley, except 
in the extent of the cutting away. However, the work is quite delicate 
and in the pond lily pattern and therefore a pleasing and rare departure. 
The other notable feature about the box is that it is asymmetrical in its 
carving, the design on the right as we view it being quite different from 
the other side, and of a very interesting pattern. 

Size: 254 by 9 by 163 inches. 

No. 129. A box unusual in several particulars, one being in the 
method in which the bottom is attached. It will be seen that the face 
boards of the box extend to the very bottom and therefore the bottom 
board is set in like a drawer bottom. 

The carving on this piece is a series of lunettes and reversed lunettes, 
which are elaborated into something like a palmated pattern. It was 
found as it is, except that there was a hole where the lock should be. 
The bottom and the lid are pine and the rest is oak. The lid is molded 
on the front and back. The carving is most unusual and approaches 
closely to carving in the round, as some of the foliage is shaped on the 
surface. The box was found in Granby, Connecticut, in 1922. It is said 
to have been on a farm there since 1660. 

Size: 244 by 73 by 143 inches. 

No. 130 is a handsome box belonging to Mr. G. Winthrop Brown, with 
arched flutes and a series of rosettes alternately different, with a ribbon 
interlaced scroll enclosing them. ‘The curious and quaint effect appears 
of leaving the last of these rosettes cut off by the outside margin, which 
indicates that the designer did not plan far enough ahead. It is rather 
deeper than those boxes which we have discussed hitherto. 


166 FURNITURE OF THE PILGRIM CENTURY 


No. 131. A box with a handsomely carved front in a daisy or rosette 
pattern, surrounded by interlaced double straps or ribbons, which terminate 
in imbricated scrolls. The box is of oak, but it is nailed from the front. 
The bottom and the lid are pine. 

It was found in eastern central New England. 

Size: 23 by 94 by 16 not including the overhang. 

No. 132 is a shallow Hadley box of which one or two others are 
known. It is about a half of the depth of No. 134, but corresponds with 
the rails on Hadley chests as to its width. It will be seen that the 
carving on this box is in the round in part. We may therefore presume 
that it antedates most of the Hadley chests. Otherwise we are to suppose 
that the great extent of the front of a Hadley chest discouraged the 
worker from attempting to do it all in the round. Of course carving of 
this character is very much better than that found on any Hadley chest. 

Owner: Mrs. J. Insley Blair. 

Size: 25 by 5 by 14 aaches. 

No. 133. Owner: Mr. H. W. Erving. We have here a box 
initialed R. N. with a stippled background for the letters. The simple 
carving of the two star designs is quite like that found on some of the 
Pennsylvania barns. The ends of this box are of oak and the front and 
back and lid, and of course the bottom, are pine. Red and black paint 
is applied in the cut-away sections of the rosettes. 

Size: 234 by 84 by 18 inches. 

No. 134. This is the only Hadley box that has so far come to our 
attention with a depth sufficient to allow a full element of the tulip and 
leaf design seen on Hadley chests. The carving like that in No. 132 is 
in part in the round. It is only necessary to compare this with the face of a 
Hadley chest to see that the latter is merely roughly scratched without 
artistry. This box has all its side pieces of oak and the top and bottom 
of yellow pine. The lid is worked into a slightly raised central panel. 
The condition is absolutely original. The box was found overlooking the 
Connecticut river in the town of Lyme, New Hampshire, which was 
settled from Old Lyme in Connecticut. The box was therefore probably 
carried up the river from that place, although we would not seem to force 
such a conclusion. If it was made in Old Lyme then the extent of the 
work on these Hadley pieces was greater than has hitherto been supposed. 
Of course it may have been taken from Hartford to Old Lyme originally 
or it may have been purchased as the settlers moved north. 

At any rate its general type is very early, quaint and satisfactory and 
intriguing. It suggests the first efforts at this type of carving. 


at ia TAR ER SA SIS 





: 174. Watnut Cross StRETCHER Desk. 1690-1700. 





175-178. Bexiows. 18th anv 19th C. 


i 
p 
» 
§ 





aoe 





179. Pine Cross SrRETCHER DeEsx. 


1690-1700. 


180-183. Pree Boxes anp Sanp Grass, 18th C, 


er Naa Eat EON a ad ee ROS ae 














® 
UP A aes OF ak aR ee Aca hl cla 
184. Turnep STRETCHER Desk. 1710-20. 


185-190. TinpER Box anp SparKERs, 18th CENTURY. 


* 1 AO the fem opie api. teal , 
4E Ohm 2h bie obs. ue Wiigh « 

2 or 19 Foe~ obey +h. ‘ 
» + Ty 





191. Waxinut TuRNED STRETCHER DeEsK. 1720-30. 





192-194. Wroucutr AnpiRons. 18th CrnTurRy. 


FURNITURE OF THE PILGRIM CENTURY 171 


Size: Over all, the lid: 26 by 174 inches. The frame is 238 by 82 
by 174 inches, including the thickness of the lid. 

No. 135 is a box formerly in the B. A. Behrend Collection, and doubt- 
less intended for a desk. The excellent butterfly hinges are visible. The 
large ball feet are unusual on so small a piece. 

No. 136 is a deep box received by the author as a lecture fee. There 
was missing a small portion of the front of the oak lid. The piece is 
otherwise original, and has some odd features. One of these consists in 
an applied molding above the base which we believe is not shown in the 
case of more than one or two other boxes in this book. The carving con- 
sists of two rows of flutes and extends around the ends. ‘This unusual 
feature leads us to challenge its American origin, but the author’s kind 
friends are accommodating enough to say that it is American. 

Size: 234 by 114 by 19 inches. 

No. 137 a. is a very quaint miniature box belonging to Mr. Hollis 
French of Boston. The design is called Friesian. There is beautifully 
serrated or notched carving on the base and the lid. The same thing 
appears as an almost constant motive in Norman cathedral architecture. 
Probably the name toy box would apply to this piece. It may have 
been used for jewels and placed in a larger “strong box.” Many per- 
fectly simple boxes of this size are found which do not merit treatment. 

No. 137 b. is a deep box belonging to Mr. Hollis French. The 
carving is the double foliated scroll so much found on chests and court 
cupboards. The widely spaced gouge carving at the corners is noticeable. 

No. 138 is a box with foliated scrolls running horizontally instead of 
vertically as in the previous box. Here also we have the initials A. H. 
The owner is Mr. B. A. Behrend. The foliage here resembles the acan- 
thus. 

No. 139. A beautifully carved box in which the tulip element occurs 
again. The attraction of the carving consists not so much in any accurate 
delineation of the tulip as in the grace of line. The carved details sur- 
rounding and depending from the ’scutcheon are also an interesting 
feature indicating that the carver did what is frequently not done. He 
had regard to the arrangement subsequently to be made for locking the 
box. Most of these boxes seem to have lacked that attention, so that we 
see key holes freely inserted in the midst of the carving in a somewhat 
awkward and defacing manner. 

Size: 27 by 10 by 15 inches. 

No. 140. Owner: Mr. George Dudley Seymour. The carving here 
may be presumed to represent the tulip. In fact, it is a rather better 


172 FURNITURE OF THE PILGRIM CENTURY 


setting forth of that favorite flower than we usually find. We notice 
the usual stippled background and gouge carved corners. 

No. 141. Owner: Mr. Dwight Blaney. The carving is very happily 
designed and executed. ‘The box is deeper for its length than is usual. 

No. 142. Owner: Mr. George Dudley Seymour. This is the 
second example we have shown in which the front panels are not alike. 
One panel bears the initial W. The pattern represents the tulip less 
conventionalized than usual. The piece is in the Wadsworth Atheneum, 
Hartford. It originated in Guilford. 

No. 143 is a large and interesting box. The carving of two bands 
of imbrications is combined with heavy moldings and several bands of 
scratched serrations. ‘The top and the bottom are pine. The box contains 
the original till of pine. All the other parts are oak. The lid is molded 
on the front and gouge carved on the end, a style which is carried out on 
the ends of the front also. The box is large, being 264 by 94 by 173 
inches, not including the overhang. The original hasp is in place. 

No. 144. Owner: Mr. H. W. Erving. The band of vertical flute 
carving above is interrupted to afford room for a ’scutcheon. ‘This shows 
thoughtfulness. Scratched carved lunettes, a row of three, finish the front. 
They are filled with rays which may be variously designated. A flower 
fills the spandrels. ‘The same carving is repeated on the end, which is 
most unusual. 

Size: 214 by 84 by 144 inches. 

No. 145. Owner: Mr. H. W. Erving. Here the top line of carving 
is unusual. The intersecting lunettes, each done with four parallel lines, 
is of course a very obvious motive. The top carving is repeated imme- 
diately below the lunettes, and there is a line of imbricated carving at the 
bottom, or at least it was probably so intended. 

Size: 273 by 11 by 17 inches. 

No. 146 is a somewhat attractive box although it is pine in every part. 
It has a coat of old paint which, as it is somewhat flaked off, will be cleaned 
entirely. The spandrels are carved with fan like designs. 

Size: 244 by 84 by 154 inches, without the molding. 

No. 147. Owner: Mr. George Dudley Seymour. The carving is of 
a most unusual and interesting design, though it is not fully explicable. 
The lunettes and half lunettes are bordered with small triangles like the 
Norman notched carving. At the center there is a kind of spiral wheel 
which again is centered with a small starfish design. There is also a row 
of starfish running across the center of the front. All these elements are 
raised. What term we should apply to the battle axe shaped designs which 
fill the spandrels we do not know. The piece is in pine. It will be seen 
that it lacks the base molding. 





1640-50. 


PaRMENTER CourT CUPBOARD. 


195. 





ae a 


1640-60. 


Carvep Oax Court CuPpBoarRD. 


196. 


FURNITURE OF THE PILGRIM CENTURY 175 


No. 148. Owner: Mr. George Dudley Seymour. A small box of 
whitewood, pine and soft maple. It is from Norwich, Connecticut, where 
it was owned by the Fanning family. The front ends and lid are pro- 
fusely enriched with carving as done in the northeast province of Holland 
and thence called Friesian. According to family tradition it was made 
by David Fanning of Norwichtown, when he was nine years old, which 
would give the box the date of 1736, as his birth was in 1727. Fanning 
died at Groton, Connecticut, in 1817. He was a soldier in the French and 
Indian War and a man of some local prominence. 

Size: 203 by 63 by 10g inches. The lid is 21 by ro4 inches. 

No. 149. Owner: Mr. George Dudley Seymour. A carved and 
stippled pine box related in its type of carving to Friesian designs. The 
position of the spiraled wheel at the bottom is somewhat mystifying. 

No. 150. The only good curly box we have seen in a form so small. 
It is a desk, pure and simple, with its original plain hinges. The ball 
feet add to its attractiveness, as does the heavy mold which is applied 
around the base and covers the base, which is nailed on, coming flush to 
the edges of the box. The original scrolled brass ’scutcheon is in place. 
The interior in the rear contains two plain cubbies with single arched 
molding. 

The size of the box over all is 173 by 12% by 10 inches. The size 
of the body is 153 by 12 by 8 inches. 

No. 151 is another all carved pine box with a lattice work front. It 
contains no till. 

Size: 21 by 8% by 11 inches not including the overhang. It has pin 
hinges, a cleated lid the front and back of which carries a molding. 

No. 152. This little box owned by Mr. George Dudley Seymour, 
has its entire surface covered with carving in the Friesian manner. The 
body of the box is worked from a single piece of wood, apparently white- 
wood. The cover, also a single piece, has thinned edges sliding in 
grooves. On the cover are the initials A. C., while the initials N. J. 
are incised on the end of the cover. 

Size: 44 by 24 by 14 inches. We assume that this piece is native 
since whitewood is the material. The box was found in Cheshire, Con- 
necticut, about 1900. 

The author possesses a miniature wall box with a slanting lid, all of 
whose parts are carved in the same manner. 

No. 153. This carved desk box is a very interesting example of the 
survivals in style. The wheel carving on the upper section is purely 
Gothic in motive. The other carving on this part is obvious. On the 
lid, however, we have a crude scratch carving and the name, “ Lydia 


176 FURNITURE OF THE PILGRIM CENTURY 


Culver 1722.” The little drawer in the bottom is very unusual for a 
small desk. The material is birch or maple. 

Size: 14 by 19 by 7% inches. , 

No. 154 is a box of oak. The outlines are filled with chalk in order 
that the date and the initials may show more plainly. The carving 1s 
crude and possibly unfinished. The spiral wheels, particularly, are merely 
scratched. The base is either not original or is quite rare in being cut 
flush with the box. The lid is pine with a long bevel on the front and ends. 

Size: On the body, 224 by 9 by 17% inches. 

No. 155. Asimple pine box owned by Mr. George Dudley Seymour. 
It was bought in Hartford. The bottom molding is a restoration. The 
painting, not restored, shows a vine enfolding large flower-forms. The 
piece is now in the Wadsworth Atheneum, Hartford. 

No. 156. A simple box with scratch carving filled in with white. 
iA decorative border which is carved is not so filled and does not appear 
plainly. The box is owned by the Connecticut Historical Society. 

Size: 104 by 54 by 7 inches. 

No. 157 is a painted pine box from the collection of Mr. B. A. 
Behrend. It is slightly carved with the initials E. A., and at the center 
a diamond is marked out in scratch carving with the date. Simple mold- 
ings appear under the lid and above the base. 

No. 158. A walnut desk box with a cabinet, and mirror inserted on 
the under side of the lid. This dainty little piece, the moldings of 
which are especially well done, was found in New York in 1923, in bad 
condition, so that there are considerable restorations. The sunken top 
is filled in, as it was found, with old leather. The end moldings are 
outlined to follow the contour of the sloping lid, and gain much grace 
thereby. The box is molded in the back with applied pieces precisely 
as on the front, except that the corners of the two panels outlined are 
blocked. Thin applied blocks form the centers of all these panels. The 
hinges are especially attractive. They appear when the box is opened. 
Around the mirror there is an outline of two strips of inlay, the outer 
one of holly, the inner one of whalebone. 

Size: 94 by 3% inches in front, and 5% inches in the rear. The depth 
is 64 inches. 

No. 159. An all walnut desk box with feet of the same material. 
There is a cabinet within. We presume in this case that the slant of the 
front was not really used for writing as it is rather narrow. It turns for- 
ward instead of backward. 

Size: 194 by 144 by 11% inches. 


vieavadt apis 


pal? 


; 





197. Prince-Howes PLymouTH Cuppoarp. 1660-70. 


198. 


ee mer ee et A I A I A 


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f 





Prymoutu Courr CuppoarD. 1660-70 


SECRETARIES AND DESKS 


Or COURSE the secretary was an outgrowth of the desk. It is 
merely a desk with a cabinet or cupboard placed on top of it. This is 
proved by the fact that some of the earliest examples had detachable tops, 
whereas later on the piece was made as a unit. 

In the seventeenth century for the most part people got on with small 
desk boxes. Good desks of this period are very rare. They may have 
been inspired by French examples, whence comes the word bureau, with 
a meaning among us of an office or department of state. The word 
escritoire, often used in a great variety of spelling, most of which elimi- 
nated the first letter, strongly suggests the French influence. It was not 
until the walnut period that elaborate desks began to appear in numbers. 

Desks today are valued largely according to the elaborateness of their 
cabinets. In the earliest period the cabinets were quite simple. The failure 
to find desks with oak frames, at least in any number, indicates the tardy 
arrival of desks in the seventeenth century. 

No. 160. A walnut secretary made with the top detachable. A 
curious feature of this piece is that the top juts back about an inch and 
a half beyond the back of the base. We have found this feature in some 
mahogany secretaries. It is an arrangement designed to accommodate 
the dado, which, in the form of panels surrounded rooms in the first 
period of paneling in America. ‘Thus the desk proper abutted against 
the dado, and the top also abutted directly against the plaster wall, above 
the dado. 

Attention should be given to the shapes of the panel tops in the 
doors. This form appears in the earliest panels in New England furni- 
ture. In Pennsylvania the form continued well into the eighteenth cen- 
tury, much later than in New England. 

The hinges which appear here to be butts are really H hinges nailed 
into the edge of the doors, and closing up like modern butts. This is not 
a very unusual method. 

The square pulls for resting the slant front when it is thrown open 
are marks of the earliest type. AQ little later it is seen that these pulls 
are in the form of a board on edge. Curiously enough the lid here is 
yellow pine though it seems original and the piece is otherwise of walnut. 

179 


180 FURNITURE OF THE PILGRIM CENTURY 


Size: 334 inches across the front, 674 inches high, 204 inches deep. 

No. 161. This heavy desk, set on a frame, is a rare and important 
piece, belonging to the Rhode Island School of Design. It has that 
delightful effect of softened corners and steady wear which appeals to 
the heart of the collector. The molded stretchers here are early and the 
heavy effect of the frame indicates an early date. The desk is small. 
It has its original and excellent butterfly hinges. 

No. 162. Owner: Horatio H. Armstrong, West Hartford, Con- 
necticut. 

This handsome desk shows quite clearly a desirable cabinet of the 
period. The cabinet in the secretary No. 160 is about the same in pattern. 
The difference in the style of feet of the two pieces should be noticed. 
In Mr. Armstrong’s piece there is a sort of shoe below the ball. This 
style is a little later than the other. 

Nos. 163-169. A series of tin and iron lamps belonging to Mr. 
Anthony T. Kelly of Springfield, Massachusetts. We have found it 
necessary in order to show all the examples we wish to illustrate, without 
producing a too ponderous volume, to insert some small pieces of hard- 
ware below the furniture, and we have thought it more convenient to 
treat them as they are reached. 

The lamp on the left is of the simplest sort to carry about; the next 
is a reflector; the third has a small extinguisher which may be folded 
down over it; the fourth is a quaint lamp which evidently is evolved by 
adding the bowl of a lamp to a candle stick. The fifth lamp, with its 
double wick, is of the fluid type just preceding kerosene, as is also the 
sixth example, only that is set against a wall sconce. The last example 
is a very interesting multi-sided wall sconce with glass to protect the 
candle. We consider this a very attractive design, especially as it is 
convenient even for present use. 

In showing lamps and all other classes of hardware we do not con- 
fine ourselves to the Pilgrim Century. We eschew glass and for the most 
part show only such lighting fixtures as were made of tin and iron up 
to the time that kerosene came into use. 

No. 170. A pine stretcher desk with a maple frame. The opening 
in the molded book rest was probably left for the staple which is now 
lost. We have here the lip on the drawer which indicates the eighteenth 
century style. There are excellent original butterfly hinges. 

Size: Over all, 294 by 384 by 224 inches. 

No. 171. A frame desk of walnut, of a desirable type. The turn- 
ings are very meritorious, and their large size indicates an early date. 
The lip on the drawer and even the drawer pulls, however, indicate that 


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1660-70. 


SERRATED PLyMouTH CUPBOARD. 


199. 


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19 











1690-1700. 


SUNFLOWER AND Tuxip Courr CUPBOARD. 


200. 





1670-78. 


SUNFLOWER AND T'uLip Court CUPBOARD. 


201. 





1660-70. 


SUNFLOWER AND T'uLip Court CUPBOARD 


202. 


FURNITURE OF THE PILGRIM CENTURY 185 


the base is a survival of a somewhat earlier style. The piece was in the 
former collection of the author. It is one of the best examples known, 
although the interior is very simple. 

Owner: Mr. Harry Long. 

No. 172, a walnut veneer desk resembling No. 162, except that it 
is a little earlier in the feet and in the molding. In the former collection 
of the author. 

No. 173. A small pine desk on a frame with the early stretchers. 
When found this piece had hinges on the back of the lid. But as there 
were holes for pulls, the arrangement was reversed, to the original 
position. 

Owner: Mr. B. A. Behrend. 

No. 174. In this desk we reach, for the first time, a somewhat 
elaborate turning. The cross stretcher pieces of this character seem to 
form a connecting link between seventeenth century furniture and the six 
legged highboy turnings. This desk has fine original butterfly hinges. 
It has been to some small extent restored. We question whether or not 
the arched molding is correct. It should be compared with Mr. 
Wheeler’s desk No. 179. It seems somewhat incongruous to run a mold 
of this kind except all around. A finial probably rested at the intersection 
of the scrolled cross stretcher. ; 

Size: 38 by 323 by 21 inches, these measurements being over all. 
These turnings should be compared with the large square oak refectory 
table. 

Nos. 175-178. We give here four forms of bellows. No. 175 shows 
a flat surface; No. 176 shows a rounded surface with stenciling: No. 177 
has ornamental turnings; No. 178 is the plainest and simplest form. These 
bellows like most others have brass snouts. They were a very necessary 
household article. 

No. 179. Owner: Mr. Edward C. Wheeler, Jr. A delightful small 
desk turned in the same type as No. 174 and probably by the same 
maker. It was found not very far from Boston, and is the only desk 
known to the writer in pine in this style. It has its early original butter- 
fly hinges. 

A desk with cross stretchers is convenient for the feet of one sitting 
at it. It also matches the style of the cross stretcher lowboy. 

Size: The frame is 29% by 19+ inches. The length is 314 inches. 
It is 334 inches high, and 19# inches from front to back. 

Nos. 180-183. The objects here depicted are owned by Mr. Arthur 
W. Wellington. The outside pieces are pipe boxes, the first having its back 
carved like a fan and pierced with the familiar and favorite heart shaped 


186 FURNITURE OF THE PILGRIM CENTURY 


opening, which is repeated on the front of the box. The second object 
in the row is a little hanging box initialed and dated and also having a 
heart motive. The sand glass is of an early type. These glasses when 
very early are usually made in two parts and are connected by wax. It 
was thus possible in the manufacture to regulate the opening more pre- 
cisely for the number of minutes required to pass the sand from the 
upper to the lower compartment. The phrase hour glass is hardly de- 
scriptive, for the time was more likely to be fifteen minutes or less. 
These glasses are found very convenient even today. 

Pipe boxes were apparently used as early as the seventeenth century. 
In fact, they were needed as soon as the habit of smoking came in, in Queen 
Elizabeth’s time. These boxes were used for the insertion of the long 
brittle clay church warden pipes. The drawer below was for the 
tobacco. The boxes were hung high on the wall to be out of the reach 
of children. 

No. 184. A desk on an all turned frame and having chased brass 
handles, the hinges being of the butterfly pattern. 

Owner: Mr. Chauncey C. Nash. 

The obvious arrangement of a table frame for a box here appears. 
The style existed along with the other style in which the posts ran 
through the desk proper. 

Size: 29 by 232 by 184 inches. 

Nos. 185-190. These are fire making implements owned by Mr. 
H. W. Erving. The first is the more common tinder box, the steel for 
which lies in front of it. The steel was struck upon the flint and the 
spark was caught on a piece of tow, these articles being kept within the 
box, and the candle was set in the lid so that it might serve as a kind of 
pilot candle to light up all the others in the dwelling. 

The next two objects are waistcoat pocket sparkers. These exist in 
a very great variety, one collection numbering over a hundred. The 
knife sparker is an odd variant. The last object is a wheel sparker. Some 
sort of fire maker was an important household article until the day of 
sulphur matches. It is remarkable how generally the old fire making 
tools were thrown away. They were no small nuisance in practical life, 
and our fathers seemed to have been glad to be rid of them. 

No. 191. A walnut turned stretcher desk formerly owned by Mr. 
I. Sack, of Boston. Of course the handles do not belong with it. A 
desk constructed in this manner with drawers and turned table frame 
base, and drawers in the desk box itself, obviously required a high stool 
or high desk chair. A few such seats are found and will be shown later. 
Even with such a seat one could not sit as comfortably as one could wish. 





1670-90. 


SpLAYED Concorp CourT CUPBOARD. 


203 


te 





204. Sranton-Cuinton Court Cuppoarp. 1660-80. 


FURNITURE OF THE PILGRIM CENTURY 189 


Therefore, the usual fashion for the later desks provided a knee hole. 
We are uncertain whether the medial stretcher was designed to give foot 
room or was an object of economy or grace, but it achieved all these objects. 

Nos. 192-194. Three pairs of wrought iron andirons. The left hand 
pair is one of the commonest designs found, having a kind of gooseneck 
and a pointed square head. It should not be confused with the proper 
gooseneck and head andiron. The second pair is rare in that the posts 
are twisted. The third pair also is rather usual. Of course the object 
of the rings, or the turned-over tops, was for convenience in moving the 
irons. We do not know a time when andirons were not used. They bring 
back the early sentiments connected with the fireplace, and are still found 
in most homes. 


COURT CUPBOARDS 


us HE court cupboard is the most stately and important piece of furniture 
that has come down to us from the early settlers. Its possession was 
always a mark of dignity, wealth or family. People aspired to own a 
court cupboard as a token of assured position in society. ‘Thus we see 
in Plymouth, a poor colony, that Governor Prince had such a cupboard. 
We find them more frequently, however, in Boston, Salem and the richer 
cities of the Puritans. 

Most of all we find court cupboards on the Connecticut river, especially 
from Hartford south, and along the Sound. 

A collector in these days who can secure a court cupboard feels that 
he also has achieved no small success. These objects are very much sought 
for, and hence, if one exists, hitherto hidden from the light, it is quite 
likely to become known in a short time. 

The number now in museums is very small, more especially as we 
confine ourselves to American examples. The large majority of these 
cupboards is in private collections. There can be no doubt, however, that 
within a score of years a large number of them will gravitate to museums, 
where they will afford to the casual student a new conception of the 
furniture of our fathers. 

An amusing and rather trite phrase in connection with Pilgrim furni- 
ture is “crude design.” Every paragrapher and reviewer and novelist 
seems to feel himself aligned with those who know when he uses the 
word crude or some such adjective in relation to old furniture. For 
some years we have made notes, as a matter of curious interest, on the 
allusions by novelists to antique furniture. It would almost seem that 
writing people would wish to avoid marring their tales with wholly mis- 
leading statements. Perhaps they think they create an atmosphere. Cer- 
tainly one cannot look for nice distinctions in their references to the 
subject. 

We think it would not be difficult to show that in the period between 

1670 and 1700 Americans built better homes, from the standpoint of 
"taste in design, had better furniture, were better clad, and spoke better 
English than has been the case at any time since. An English traveler, 
going up to the North Shore, used in description of the homes he visited 


190 





ba 
# 


205. Duruam Oax anp WanuT Press CupBoarD. 1690-1700. 





1680-90. 


Oax Press CUPBOARD. 


206. 


FURNITURE OF THE PILGRIM CENTURY 193 


phrases so extravagantly commendatory that we dare not even quote them. 
A dwelling containing as much good furniture as the inventory of Gov- 
ernor Eaton of New Haven Colony shows, does not exist in America 
today, except in the case of a few collectors perhaps, who should not 
count in such a comparison, because Governor Eaton’s home was designed 
merely to be the residence of a gentleman. 

Anyone who looks at the Parmenter court cupboard can hardly call 
it simple. Anyone who examines a slate top table of 1690 must admit, 
if he has studied the subject at all, that for daintiness and elaboration 
it has never been matched since. The fact is that while we find simple 
furniture, in the homes of the poor, in the seventeenth century, we also 
find everywhere, even among the poor, marks of excellent taste, and a 
feeling for design. 

Were a citizen of that day to “revisit the glimpses of the moon”. 
and enter a conventional modern home of some pretentions he would 
be aghast at the medley and confusion that would greet his eyes. It is 
not at all uncommon to see a piece of furniture which combines the 
motives of three or even four centuries and so warps and twists and 
degrades them all, and mixes them with unconnected motives of a shape- 
less and mongrel character that the result reminds one of a musical medley, 
with the music left out. A professor in entomology was waited upon by 
some of his smart students who had concocted a bug, by using the wings 
of one insect, the legs of another, the body of a third, the head of a 
fourth, the antennz of a fifth, and so on. They inquired what kind of 
a bug this was. The professor replied: “That, gentlemen, is a humbug.” 
The phrase would aptly describe the desks and the chairs of those who 
with an overweaning and wholly unjustified presumption in favor of the 
present mechanical and tasteless age, write of the past as crude. The 
age of the Renaissance, the age of Shakespeare and Milton, the age of 
those who inherited and preserved the cathedrals, was strong, but what- 
ever else it was it was seldom crude. The furniture was neither shoddy 
nor flimsy nor inharmonious. 

The court cupboard is the outstanding example to prove these state- 
ments. The old inventories which unhappily ceased too soon, indicate 
that probably many hundreds of such cupboards existed. Perhaps less 
than sixty, of presumably American origin are known to remain. 

All of these cupboards, belonging strictly in the seventeenth century, 
are of oak, as regards their frames. The great pillars are of some wood 
adapted for turning like maple. The drawer fronts and the panels may 
be of oak or yellow pine. The same is true of the main shelf, the top 
shelf and, in the open cupboards, of the bottom shelf. The various 


194 FURNITURE OF THE PILGRIM CENTURY 


applied moldings and ornaments may be the same wood as the pillars 
or they may be of red cedar, walnut or pine, but rarely of the last. 

We distinguish three sorts of court cupboards according to design, and 
perhaps we should include a fourth. One design like No. 200 has its 
shelf cupboard, which names the piece, splayed, or in the semi-octagon 
shape. A second variety is like No. 195, with a straight but recessed 
cupboard. 

A third sort has a straight front without pillars like No. 219. All 
of these styles except the last are found either open below or closed in 
by panel work and a door or doors. 

No. 195 was taken to Sudbury apparently when it was founded, from 
Boston Bay. The Parmenter Tavern was erected in 1683, in South 
Sudbury, long before the Wayside Inn was built. Joshua Parmenter, 
who carefully preserved this cupboard, was born in Framingham in 1824, 
and died in 1903. The writer secured the cupboard from his widow, who 
survives him, and their children. Joshua Parmenter remembered the 
occasion when the feet of this cupboard were cut off by his uncle, about 
1835. He inherited the cupboard from that uncle and when the Par- 
menter Tavern was destroyed he took the cupboard to South Natick 
where the writer found it. Against the remonstrances of his friends 
who wondered at his preserving such a queer old thing Mr. Parmenter 
carefully cherished the piece. His widow and children have the same 
respect for it, and their regard is enhanced by their respect for him. By 
a Clause in its bill of sale it must bear its brass plate stating its origin, 
and cannot pass out of the family in which it now is except to a public 
museum. 

Mr. Luke Vincent Lockwood, with whose friendship the author has 
been honored, regards the piece very highly, from the standpoint of 
antiquity and merit of design. It combines several decorative features. 
It has that very rare feature in American cupboards, a band of inlay, 
running around the panels of the doors and on the stile below them and 
also on the stile above the drawers. The carving on the top member is 
in the arch or fluted pattern, and this pattern is repeated on the base. 
The central moldings are doubled foliations. All these moldings, as in 
the very earliest styles, are carried around the ends. The applied decora- 
tions, in addition to the inlay, are in the form of nail heads like triglyphs, 
in pairs, on the fronts, and sides of the posts. This cupboard belongs to 
the open style, which we regard as the earlier. The two sets of pillars 
are practically identical. The drawers are very heavy and are charac- 
terized by their lack of a rail below them, so that they never required 
pulls, but were withdrawn by catching the fingers underneath, on the 





Datep 1684. 


SpLayED ANDOVER CourT CUPBOARD. 


207 





go. 


1670- 


SpLayED Oak Court CupBoarp. 


8. 


20 





1670-90. 


SpLayED Oax Press CuPBoARD. 


209 





1670-90. 


Oak Press CuPBoaRD 


210. 


FURNITURE OF THE PILGRIM CENTURY 199 


slight extension of the front, below the bottom. This feature has pre- 
viously been mentioned in connection with certain chests, and may also 
be found on the cupboard No. 208. 

All the shelves, the back, the inside shelf and the division between the 
two cupboards are of pine as well as the very heavy drawer bottoms and 
backs. All the other structural parts are oak except the posts, which are 
maple. 

This cupboard follows the early design of allowing the stile behind 
to form the leg and of turning the front post. It has the unusual feature 
of the two drawers side by side and a drop between. This was in such 
a condition as to raise the question whether it were not a fifth leg. The 
restoration, however, is believed to be correct. 

The carving of a tree with branches in the door panels is so surrounded 
by applied moldings lapping slightly onto the carving as to give the effect, 
in the shape of the molding, to a corridor down which one appears to be 
looking. 

The old red paint remains on parts of the end panels and, strangely 
enough, the back. We do not know of another cupboard with so many 
intriguing features, or an appearance so generally attractive. 

Size: 52 inches long, 534 inches high, 23 inches wide over all. 

No. 196 is a press cupboard in the Metropolitan Museum. The 
brackets have been challenged, we do not know on what ground, nor do 
we now recall by whom. The pillars are extremely plain and are not 
very large in diameter. The doors below are attached on the outside of 
the stiles and are not recessed, a thing which we can hardly understand. 
The piece, however, is very elaborately carved. The scratch carving on 
the end panels suggests that on the Virginian cupboard to follow and 
that on one of the first chests treated. This cupboard has the structural 
architectural arches. They resemble very closely those shown in the chest 
No. 1. We believe the cupboard to be early. Other features of the 
carving which we have already referred to under other pieces do not 
require discussion. We do not feel qualified to say whether this cupboard 
is English or American but it is counted American by some of our best 
judges. 

No. 197. ‘This cupboard is one of six known in this style only one 
of which, that in the Metropolitan Museum, was generally known two 
years ago. One of these is in New Jersey, one in Boston, one in New 
York, one in Bridgewater, which completes the list. Of the six one is in 
such a condition as to be positively valueless. We show the New Jersey 
specimen and the Metropolitan Museum specimen besides No. 197. We 
apply the name Plymouth to these cupboards because the example now 


200 FURNITURE OF THE PILGRIM CENTURY 


before us and the New Jersey example are traced directly to that place. 
The example in New York came from Plymouth Colony. That in Bridge- 
water was also derived from Plymouth. We have not yet traced the 
origin of the other two, but we are confident that as the eight or more 
chests known of this style are traceable in part to Plymouth, that this style 
had its home there and not elsewhere. 

The author has examined four of these pieces, some of them with 
great care. The drawer bottoms, backs and fronts are pine. This pine 
does not seem to us as hard as yellow pine, yet we must presume it can 
be nothing else, for it certainly is not white pine. In all cases it is riven. 
The drawer fronts are completely covered by the molding, and the 
painting of the center of the panel, formed by the molding. There is 
some divergence in the back panels of the various specimens, as they are 
sometimes oak, sometimes pine and sometimes, as in the Tracy cupboard 
they are pine in one section and oak in another. There is also a divergence 
in the material of the panels of the upper part. There is the usual 
variation in the turning of the great pillars, though in all cases the pillars 
were very large. The fronts of the cupboard section also vary for the 
sake of that individuality which we have mentioned as a feature of the 
Pilgrim furniture. 

Thomas Prence (Prince) came to America in the Fortune. By 1634 
he became governor of Plymouth. He married Patience, daughter of 
Elder William Brewster. In 1635, having lost her, he married Mary 
Collier of Duxbury. He was allowed to live at Eastham, otherwise 
known as Nauset on the forearm of the Cape until 1665 when in 1657, 
he was elected Governor for the third time. But in 1665 the permission 
for a governor to live away from Plymouth was cancelled, and he was 
granted “a seat” a mile north of Plymouth at Plain Dealing. This was 
the Lothrop farm occupied in 1832 by Isaac L. Hedge. Governor Prince 
was continually re-elected from 1657 to his death in 1673. His fourth 
and last wife was Mary, widow of Thomas Howes, an original settler of 
Dennis, then part of Yarmouth. 

Governor Prince’s will of March 13, 1673 has been published. It 
contains the following items: 

“ My will is that Mary, my beloved wife shall have such household 
goods of Any kind as were hers, before wee married, Returned to her 
againe.” 

“ Item I give onto my said loveing wife my best bed and the furniture 
thereunto appertaining, and the Court Cubberd that stands in the new 
parlour with the Cloth and Cushen that is on it.” 

Thus after the governor had specified that his widow should have such 


on & ae 8 


Mie — 
odie a CO meme 


ES is 


V4 6 Rb) (mma 


Bees Cet an LES EERO 


1660-90. 





5 sc ah ata BEN BES 


fa A eo ae il Ch a le aan Bi 


aoe. 


SpLayED Oak Court CUPBoARD 


211. 


z 
* 

s 
oe 

e 





212. Press Cuppoarp BasE. 1670-1700. 





213. Pine Desk. 1700-10. 








214. SpooL-TURNED Courr Cupgoarp. 1690-1700. 


[eee as at Neco eae 





1690-1710. 


DecoraTED WuHITEWoop Press CUPBOARD. 


215. 


FURNITURE OF THE PILGRIM CENTURY 205 


household goods as she brought him, he adds the bed and cupboard. 
The inference is clear that these articles were not a part of her dowry. 
This is important since it is the tradition in the Howes family that 
Thomas Howes brought the-cupboard from England. The mention of 
the “new parlour ” evidently refers to an extension of the governor’s 
house, made between 1665 and 1673. His fourth marriage occurred not 
long before August 1st, 1668. The cupboard may therefore be assigned 
to the period, 1665-1670. The widow returned with her legacy to 
Dennis, for that had been her home, and her grown son by Thomas Howes 
lived there. Her inventory dated December 23, 1695, mentions “an old 
chest and a cupboard at Prence Howes’s.” 

Various additional minute details of evidence were published in 
Antiques October, 1922. The Prence Howes last above referred to 
- was Mary’s grandson. There is a fascinating record of inter-marriages 
and relationships. He died in 1753. 

The Howes family retained this cupboard, which was about a hundred 
years old on Lisbon earthquake day, and about a hundred years after that 
Joshua C. and Polly Howes restored the cupboard in some degree, and 
attached a legend to the inside of the doors. The author purchased the 
cupboard from a lady of the Howes family who had inherited it. No 
other member of the family seemed to be in a position to hold it. In 
this particular case all the eight panels of the back, the interior divisions 
and shelves, and the upper outside panels, are of yellow pine in addition 
to the pine parts already mentioned as common to all this type. The 
pillars shown in detail in the chapter on turnings are, it is noted, reversible, 
being alike at both ends. We have not noticed another instance of this sort. 

The piece when found had all its upper ornaments but one. The 
applied drops on the lower section had been lost. It is probable that a 
large single drop existed on the feet but we have hesitated to restore it. 
It will be found on another piece shown of this type. 

The characteristic feature of the Plymouth cupboards is the serrated 
molding, which appears on this piece in seven lines on the front, reckoning 
from the top to the bottom. The wood is cut away to form these saw 
teeth, quite similar to Norman cathedral work. All these pieces that we 
know also have heavy modillions on the canopy. There is also a “ pencil 
and pearl” ornament repeated on various sections. The carving also in 
part extends around the ends. The large oak molding is attached by 
wooden pins. The top is separable from the base. 

Another feature of the Plymouth serrated pieces, both chests and 
cupboards, is the pair of short drawers, the upper set on the base, or in 
case of an open cupboard, the only pair. In the chests whether there are 


206 FURNITURE OF THE PILGRIM CENTURY 


two ranks of drawers or only one, the drawers are all only half length 
on the front. We do not remember seeing this feature elsewhere except 
in the Parmenter court cupboard. 

Photographs of this piece in detail, before its restoration, front, back 
and ends, are in the possession of the author. 

Size: 51 inches across the front, 56 inches high, 22% inches deep, 
over all. 

No. 198. The serrated Plymouth cupboard in the Metropolitan 
Museum. The high importance of this piece is enhanced by its central 
panel in the form of an arch which some have claimed was a certain 
English stamp. If anything was made in America these cupboards were. 
This piece has been restored at the bottom and more or less otherwise. It 
is most interesting in being open below, most of the others of the type 
being built below as chests of drawers. 

No. 199. This cupboard, so near like No. 197, has come to light 
through the publication of pictures of No. 197. A member of the Tracy 
family writes that Stephen Tracy came in the Ann in 1622. Patience 
Brewster, daughter of Elder Brewster, is said to have been aboard. It 
was she who married Thomas Prence, mentioned under No. 197. Their 
daughter married Stephen Tracy’s son John. His descendants moved to 
Hartland, Vermont, and took the cupboard we are now considering, with 
them. It was brought back by a direct descendant of John in 1878. 

Of course the tradition is that it came in the Ann. This is impossible, 
owing to the style and the construction. The strong presumption is that 
John Alden or Kenelm Winslow built these cupboards and chests. Plym- 
outh town was very small. It was so reduced between 1660 and 1670 
that there were fears that it would be entirely depopulated through re- 
moval to more fertile lands. We know of no other master carpenters or 
woodworkers except the two we have just mentioned, and the smallness 
of the town would seem to call for no more. Further, one of these cup- 
boards has been inherited in an Alden family. 

No. 199 has undergone slight repairs. The turnings on the feet are 
important and original as are nearly all if not all of the other ornaments. 

Owner: Howard C. Tracy of Plainfield, New Jersey. 

No. 200. Introduces another class of court cupboards with chests to 
correspond, They are called the Connecticut sunflower pieces, but in 
every case we believe they also have side panels of tulips. Up to the 
discovery of the Plymouth serrated cupboard these were the only out- 
standing class of highly important cupboards of American origin, found 
in sufficient number to afford a good basis of comparison. It is both 
difficult and dangerous to say how many of a certain class exist, but we 





Vircinia BuLBous Court CuppBoarp. 1640-60. 


216 














aa iki caameememnmenmannitin 














Essex InstiruTE Press CupBoarp. 1670-90. 








218. Court CasInET. 1670-90. 


SE a ER ee oe 
~ 1 AES RARER PRIMER sm 1 SINK oe 


sila “ Sane nDnOrennannnenetr, 


eh pom 


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“Thies eurennrrmeaterometne eet - <a 
rc 2d MRO soldi | 


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1670-90. 


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b 
Zz 
° 
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fx, 


STRAIGHT 


219 





FURNITURE OF THE PILGRIM CENTURY 20% 


will hazard the phrase, eight or ten more or less. This particular piece 
differs rather widely from most of the others known. It has the rare 
feature of the splayed shelf cupboard. The turnings of the pillars are 
sharply different from the conventional type found on No. 201. The 
rosettes on the drawer, on the upper door and on the architrave, otherwise 
called the canopy, or the cap, or the hood, or the cornice, are also a variant 
from the usual style. The piece also is somewhat higher in proportion 
to its width than others we have seen. An important feature, which we 
consider points to a somewhat later date, is the narrowing of the face of 
the long stiles which form the legs, and their division into panels. This 
should be compared with the wider stiles on others of the type, on which 
stiles applied drops appear, matching those on the inner stiles. 

We should mention that for the most part the shelves and cap boards 
of the sunflower cupboards are in oak, together with their panels. 

Owner: Mr. Winthrop Edwards Dwight. The cupboard is an heir- 
loom in the Wheeler family and was derived from Fairfield County. 
Whether or not it was made at Hartford, as we suppose most of this type 
to have been, we cannot say. Possibly its variation from type would 
indicate that it was done by a maker south of Hartford. 

No. 201. A cupboard in the sunflower or aster and tulip pattern, of 
the conventional type. When the author was looking in Clinton, Con- 
necticut, for the cupboard in the Stanton house there, he mistook his 
directions for Clinton, Massachusetts, and as a consequence came upon 
this cupboard in the Lancaster Library, Clinton having been set off from 
Lancaster. The Rev. Jos. Rowlandson married a Mary White. He was 
the first minister of Lancaster, 1654-74. He died in Wethersfield, Con- 
necticut, 1678. His heirs sold the cupboard in 1825’ to the Rev. B. R. 
Woodbridge of Norwich. He died at South Hadley, in 1648, leaving 
the cupboard to his nephew, Mr. J. W. Dunlop of that town, who sold it 
to the library. It is a fascinating bit of information that the library 
bought the cupboard because it was a piece of furniture belonging to the 
first minister of the town, and not from any supposed importance of the 
furniture itself. The fact that Mr. Rowlandson died at Wethersfield 
accounts for his possession of the cupboard, Wethersfield being only four 
miles from Hartford. The piece when found was painted red. Nothing 
has ever been done to it except to wash off the paint. Its condition is 
more perfect than that of any other piece of its age that the author has 
seen. It is a pleasure to present so ancient an article of furniture in a 
condition so fine, and on which no hand has been raised by way of restora- 
tion. It is this piece, therefore, that should supply our data for style. 
There is a little variation in the bases of these periods. It appears in 


212 FURNITURE OF THE PILGRIM CENTURY 


the carving of the tulip and the “asters.” All specimens we have noted 
have a heart-shaped fret work applied above the drops. The lines of 
molding and methods of construction vary very little. Another feature 
to be noticed is the slanted dentils below the main shelf and below the 
cap shelf. Of course these are merely strips of molding cut up and spaced. 
The central one is in triangular form below the main shelf. Another 
feature is the series of applied blocks, on the cornice, with four tulips 
whose stems meet. These blocks are seven'in number. All those pieces 
that we know, at least, have cupboards below, and all but one that come 
to our mind have straight fronts on the recessed portion behind the pillars. 
There are also two doors, and the panel is in the center, on this section. 
This particular piece is the only one we have seen with its original drop 
depending from the center of the hood. It is not an acorn but is an 
attractive large turning. The shape of the door panels does not vary as 
much as some other features. All the pieces have turtle backs and all 
except No. 200, we think, have them on the drawer, the upper doors, the 
hood and all the end panels. 

The piece before us enables us to supply a more precise date than we 
have hitherto been able to do, since the owner died in 1678. 

It is supposed that these cupboards and chests of a similar style origi- 
nated in Hartford. The peculiar and strongly marked individuality of 
the turning on the large pillars, quite similar in most of the cupboards, 
separates them from No. 200. 

No. 202. A sunflower cupboard owned by Yale University. It does 
not differ markedly from No. 201. It has, however, been somewhat re- 
stored. It is very much to be desired that the three court cupboards owned 
by Yale University should be in a public room where students of furniture 
could feel at liberty to examine them at leisure. At present it is only by 
infringing upon the privacy of the president’s office that they may be 
approached. 

No. 203. A court cupboard of unusual character, discovered in Con- 
cord, New Hampshire, and probably taken there from Connecticut whence 
came the three other pieces with the finely divided panel work of an 
identical character. If these were from England we should look for them 
on Massachusetts Bay. 

Owner: Mr. Philip L. Spalding of Boston. 

An interesting question sometimes arises in relation to the pillars of 
these cupboards. They have sometimes been found with the small end 
uppermost. Were we to follow the analogy of architectural pillars that 
placing would be correct. Some English cupboards have capitals obviously 
copied from the Greek. In such instances no question arises. In the 


220. 


Torus 


Moxp Press CuPBoarD. 


Las sll seaiacaonte ila isa 








1680-1700. 





225. Pine Press Cupspoarp, AppLizep Moxpincs. 1690-1710. 





226. Sun Sconces. 227. Ova Sconces. 





1720-30. 


SHELL CUPBOARD, 


228. 


FURNITURE OF THE PILGRIM CENTURY 27 


purely American cupboards that we know it is a vase or urn and not an 
architectural pillar that we have to do with. In the piece before us, for 
instance, there is no question that the lower pair of pillars is correctly 
placed. In fact, they were set where they are, when the piece was built, 
and could not be removed without taking the frame to pieces. We there- 
fore conclude that the upper pair of pillars is correctly placed. 

The shelves of this piece are oak. The splay of the cupboard with 
the double arch on the beveled portion, together with some other points 
of construction have raised the question of an English origin. We think 
the piece to be American. The stile legs have been cut off for the addition 
of casters, an incongruity that we feel should be corrected. 

As an instance of the change in our attitude toward such furniture 
we may mention that not many years ago it was offered at a price such as 
one would now pay for moving it, but that it was declined! 

We have wondered whether the square of the turning above the upper 
pillar should not bear an applied ornament. It would seem to be called 
for by the construction. We have also wondered whether or not these 
ornaments did not exist, originally, on the three squares in vertical line 
on the corner, in pairs. Also, whether or not ornaments of a similar 
character should not appear on the outside ends of the posts. 

This very handsome specimen is to be compared with the base belong- 
ing to Mr. Wellington, No. 212, in respect to its recessed lower cupboard, 
an interesting and attractive feature but very rare. 

By an inadvertence the precise date which appears on the upper cup- 
board door was omitted from the legend. 

No. 204. The restored Stanton-Clinton court cupboard. In this piece 
we have another example of which sufficient numbers exist to form a class, 
a half dozen at least being known. In our first edition this cupboard was 
shown in a somewhat grotesque restoration. All the superabundant orna- 
ments have now been removed and the piece has been left severely plain. 
The restoration is certainly conservative. This cupboard is on public view 
in the Stanton Collection which is in the Historical Society edifice of 
Clinton, Connecticut. 

The pillars of this class of cupboards are rather unhappy, as it seems 
to us, in the style of their turning. This appears more clearly in the 
picture of No. 220. In other respects the decoration of the cupboard is 
attractive and dignified. It is difficult in the picture before us to pick out 
the arch and drop on the splayed sides. These features are seen in a 
similar but reduced form on the door between these sides. The great torus 
molding covered with a double band of foliated scrolls, running also around 
the ends, is the drawer of the cupboard, and opens on the miter at the 


218 FURNITURE OF THE PILGRIM CENTURY 


corner, similar to that on the cupboard No. 205. This probably marks 
a second stage of construction. 

The molding about the hood, also carried around the ends, is similar 
to that below, though somewhat more condensed. 

No. 205. A cupboard marking, somewhat, a decline in the highest 
standards, and therefore a later date. It came immediately into the 
author’s collection from the family in which it had been inherited in 
Durham, Connecticut. They had made some repairs to render it prac- 
tical for modern use. One of these was the substitution of modern butts 
on the lower door, an error which has since been remedied, by restoring 
the dowel hinges of wood, like those in the upper doors. The drawer 
interior and the lower panels in the rear have also been renewed. For 
the most part the piece is original and its appearance is not altered at all 
except in the incorrect modern drawer pulls. 

The heavy molding on the drawer level is of oak. The drawer opens 
on the miter. All the applied moldings, the bosses, the drops, the triglyphs, 
the pillars and the feet are walnut. 

Size: outside all, front, 444 inches; hight 59 inches; depth, 22 inches. 
The front and end dimensions of the frame, below, are 42 by 20% inches. 
No. 206. A press cupboard owned by Mr. James N. H. Campbell. 

The reader will note the word “ press” in the title of this piece. If 
we attempt to be quite specific we name a court cupboard that is closed 
below with drawers or a cupboard, a press cupboard, whereas those pieces 
that are open below are strictly denominated “court ” cupboards. This 
distinction is more or less arbitrary, and we make no pretense of claiming 
that it is the only proper method of distinguishing the style. In fact, we 
find Governor Prince using in his will the term court cupboard for the 
cupboard filled with drawers below. We are merely attempting to es- 
tablish an intelligible distinctive nomenclature. This cupboard has pillars 
which, though lacking a taper, are an improvement on those in No. 220. 
The effect of the cruciform sets of applied decorations is good, and quite 
unusual. 

No. 207. A splayed cupboard all of oak, which has not hitherto, we 
believe, been illustrated. 

Owner: Mr. Franklin T. Wood, Rutland, Massachusetts. The cup- 
board was inherited by him from an aunt in North Andover. It had 
previously been found in an exposed and weathered condition. The 
restorations, however, appear to have been slight. In fact we question 
whether they have been carried quite far enough. We presume that 
there were drops on the square above the upper pillars both on the front 
and on the ends. This example is very rare and certainly unique among 











1752. 


Ping SHELL CUPBOARD. 


229 











1710-30. 


CarvEep Paneu Pine CupsBoarp. 


230. 





1730-60. 


Carvep Pine CUPBOARD. 


see 


ices ratepee iho emp nepotism 
Bsns AT hast har aR PNA rete ARE : 





1740-80. 


ScrRoLLED Pine CupPpBoarp. 


232. 


FURNITURE OF THE PILGRIM CENTURY a20 


those we show, in that while it is open below it has a drawer beneath the 
lower shelf. The knobs on both drawers are late and incorrect. 

It is the all oak construction of this piece and of other all oak chests 
or cupboards, with arches, that has raised the question of their possible 
English origin. We can only say that this specimen has many analogies 
with American cupboards and that it is presumably native. At any rate 
it has been here longer than any of us. Indeed, all these pieces have 
outlasted so many generations of men as to make our criticisms seem 
trivial. It will be noted that there are two sets of initials which may 
represent successive generations of owners, or they may be the initials of 
a husband and wife. 

We have in the upper drawer of this piece finely divided panels 
resembling those on Mr. Spalding’s cupboard. Possibly there should be 
minute turtle backs applied at the cross members of the molding. The 
plainness of the lower drawer may be challenged. We have not made 
an examination to learn whether or not it was originally paneled like the 
upper drawer, but a complete structural scheme would seem to require 
such paneling. We wish to call especial attention to the similarity between 
the drops at the end of the main shelf on this piece, on No. 203, and on 
the court cupboard table, No. 681. There is also a marked similarity 
between the pillars on that table and those on the two court cupboards 
here referred to. We can trace this Andover cupboard and the court 
cupboard table to the same neighborhood. It is entirely possible that 
these pieces were made to go together. At any rate, their similarity of 
construction suggests the same origin. 

No. 208. Owner: Mr. James N. H. Campbell. This cupboard has 
the same beveled dentil or sectional molding as is found on the Con- 
necticut sunflower cupboards. The pillars above are simple but in excellent 
taste. Here it is a question whether or not they have been reversed. This 
piece was restored a good while ago by the father of the owner. For a 
simple cupboard it is one of the most satisfactory that we have seen. 

No. 209. Owner: Mr. George Dudley Seymour. We have here 
on the hood the corbels, often called modillions, which are properly so 
named only when horizontal and which we have noted on other cup- 
boards. In this case, however, the arrangement is somewhat different. 
The panel ornaments, on the beveled sides of the cupboard, instead of 
being in the form of an arch or double arch are here in geometric panel 
work. Weare of opinion that the pillars here would be better if reversed. 

The other features of this cupboard call for no special comment. It 
will be observed that on most of the cupboards there is a good deal of 
channel molding, and this is no exception. 


224 FURNITURE OF THE PILGRIM CENTURY 


Size: The main shelf is 45 by 20} inches. Over all, the piece is 
54% inches high; the upper section is 214 inches high. The depth of the 
lower section is 194 inches. 

No. 210. This is a good example of a press cupboard. We suppose 
that where the lower section is all done in drawers that a piece may be ten 
years later than a piece with doors below. Of course, the time named is 
purely arbitrary. We have here a very condensed center arch and a 
straight front cupboard section. In this case we think the pillars should 
be reversed to correspond with the pillars so similar to these in No. 203. 

The repetition of the triglyphs and vertical lines, there being the 
amazing number of twenty-seven on the lower section, gives the piece an 
appearance of unusual hight. 

The use of drawers, rather than an open space in the lower section, 
indicates the movement toward utility rather than ornament. It may also 
mark a growth in the number of a family’s possessions. 

Owner: Mr. Dwight Blaney. 

The original object of these cupboards was to hold the plate, and to 
display it. A cloth running along the top of the cupboard and depending 
at the ends in the fashion of mantel ornament of a generation since, was 
used. On this cloth were placed cushions and on these again the plate 
was displayed, very much as now-a-days a set of jewelry in a shop window 
is shown. 

The cupboards were the sideboard and safe of their time. They were 
placed in the parlor which was also the dining room. It was later that 
the parlor was shut up and a special dining room was provided. The 
court cupboard was the principal piece of cabinet furniture, and that one 
from which guests obtained their idea of the family wealth and dignity. 
Governor Prince’s bequeathing of his bed and cupboard to his wife marked 
out the choice pieces of furniture in that generation. Of the stately and 
important, but not publicly seen bed, we shall speak later. The cupboard 
was in the eyes of all guests. 

No. 211. Owner: Mrs. Hulings Cowperthwaite Brown. The double 
set of pillars in this open cupboard are matched in our knowledge only 
by those in the Parmenter cupboard in respect to the fact that they are 
identical above and below. 

We have the arch motive in two separate sections, instead of in one 
panel on the bevel of the cupboard. The drawers here in their moldings 
closely resemble the Plymouth cupboards, but their fronts are oak. The 
applied ornaments on each side of the drawers are reversible. 

A feature of no small interest is the scolloping, improperly engrailing, 
of the lowest member on the front. This also should be compared with 
the other examples in this work. 


: 
L 





ica a ee 5 ie kad 





233. Heavy Pine Corner Dresser. 1730-60. 





4 
i } 
t i 
: 
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5 } 
; ‘ 
4 
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; 
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(ae. xd - OE — a thls Sait sj ait BION Es TAS ie a 3 seh 


234-236. GoosE, BaLi AND CrooxEep Neck ANDIRONS. 


bln 2 thse hc Sl 0 ail RII KAAS NE ei Mi be Sa a taes A hat 


2437. 


ScRoLLED Open CUPBOARD. 





1750-80. 





alata. Saas ais ih ani i si cel MD 





238. New Encianp Dresser. 1740-80. 





239. Buiit-1n Corner CuppoarD. 1745. 








Crook Bari, Friar ScroLti, anp PicTart ANDIRONS. 


FURNITURE OF THE PILGRIM CENTURY 229 


No. 212. Owner: Mr. Arthur W. Wellington. A very attractive 
base for a press cupboard, the top member of which is unfortunately 
lacking. The initialing is arranged for by a small block in the paneling 
of the drawer below. The broad blocking of the recessed drawer reminds 
one of the fronts of some of the heavy chests of drawers, and the acute 
angled ornamental molding there and in the top drawer carry out the 
analogy. ‘The turning of the pillars is extremely bold and interesting. 
It is really a bulbous turning that we do not remember to have seen on 
any supposedly American cupboard except No. 216. The ball feet on 
this piece are applied in the same manner as those on a chest or a chest of 
drawers. 

On the shelf the evidences are plain of the attachment of the missing 
portion. The piece never had wooden knobs but always the brass drop 
handles. The arrangement of pulling the bottom drawer is very quaint. 

No. 213. This little pine desk is placed here out of order as there 
was no previous opening. It is evidently a country made example follow- 
ing the line of the six legged highboy, but failing to retain the full 
conformation which gives the legs of those pieces so much character. 
Nevertheless the piece with its drawers resembling that of a lowboy, is 
of much interest, and great rarity. 

It came from the Pierce family. 

No. 214. Owner: Mrs. J. I. Blair. 

This cupboard was for a considerable time in the rooms of the His- 
torical Society in New Haven. There are many features of interest about 
it, one being the use of “ modillions ” at the elevation of the drawer. 
The posts, in a kind of ring and ball turning, or what some might call a 
spool turning, are of small diameter. The panel on the door very closely 
resembles that on No. 223, as do also the splayed side panels. The 
“ modillions ” on that piece also are located with the same arrangement, 
so that we judge the maker of one of these pieces knew the other. 

Size: width 433 inches, hight 573 inches, depth 21 inches. 

No. 215. This is one of four whitewood or pine press cupboards 
made after the analogy of the court cupboard. Such is the interest in 
furniture of this period, that, at any exhibition of court cupboards, the 
public gather around these quaint lighter specimens much more than about 
an oak cupboard. 

A diagonal view of this piece is presented in No. 224 in order to 
show the scroll of the board end which forms the feet. In this piece it 
will be seen that the base mold is carried around the end. All the mold- 
ings are applied so that we have no true panels. This is the case with 
all cupboards so far found of this character. We believe one of these 


230 FURNITURE OF THE PILGRIM CENTURY 


cupboards is in the Metropolitan Museum, another in the possession of 
the author, and another in New Hampshire. This piece is very much 
more elegant, if we may use the phrase, than the author’s specimen. We 
have here a decoration of new moons. The painting is, altogether, when 
one compares it with other painted pieces of the period, attractive. An 
amusing feature is the application of the drops and ’scutcheons above the 
drawer in locations where their use can only be that of ornaments. 

Owner: Mrs. G. C. Bryant, Ansonia, Connecticut. 

No. 216. Oak furniture undoubtedly existed in Virginia in consider- 
able quantities because the state was settled in the age of oak. Two cir- 
cumstances operated to cause the disappearance of this furniture. ‘The 
persons who owned it were mostly members of the landed aristocracy, 
who kept in close touch with English fashions. When new styles came 
into use in England they were imported. The other circumstance is that 
the wealthy and free-hearted Virginians always had the poor with them 
in the persons of their negroes. To them were donated old pieces of 
furniture as well as old clothing. The blacks usually reasoned, like their 
white brethren, that furniture that was given away was of small impor. 
tance. It therefore went the way of all the earth. The remarkable piece 
before us is the only oak cupboard we have ever been able to hear of 
south of the Potomac. It is said to have been found in a barn loft about 
fifteen miles from the site of old Jamestown in 1922, and that it was 
sold to a dealer for ten dollars. In parts it has suffered very much from 
weathering, and was thoroughly gray when recovered. It appears to have 
its original top of yellow pine, since it is pinned down by very large square 
oak pegs. We have been particular to learn by examination that there are 
no other holes in the top. The piece as found lacked the drawer and the 
left hand door, as we view it. It is the only piece of this general character 
to be found in America with great bulbous turned posts, which are fully 
six inches in diameter. Here, as in other examples with large posts, in 
the other cupboards we know the enlarged portion is never turned as a 
unit with the entire post but is set in by dowels. Here the great bulb alone 
is separated from the rest of the piece. The blocks on the top rail were 
also missing and it required a great deal of study and involved some 
failures, before we could finally arrive at the correct restoration. The 
carving of the door in the tulip pattern and in the round was taken, how- 
ever, as a model and reduced but so as to obtain a piece somewhat more 
square in shape, as is necessary. The present blocks have now been changed - 
to intaglio carving, as they would otherwise project too much. The con- 
ventional foliated scroll appears and is carried around the ends. Interest- 
ing carving also covers the faces of the corner posts. The intaglio carving 





243. Farrpanxs House Dresser. 1720-50. 








244. Front or Livery Cuppoarp. 1630-50. 


eres ee) 





1740-80. 


ScRoLLED CoRNER CUPBOARD. 


245. 





1730-70. 


S. 


GERMAN CUPBOARD 


PENNSYLVANIA 


246 


247. 


ScroLLED DrRessER. 





1740-80. 


FURNITURE OF THE PILGRIM CENTURY 235 


of the center panel is very interesting. We have previously noted the 
simple and easy and inferior carving on the end panels. The door carving, 
and the middle panel, are in the earlier style of the art, which lead us 
to believe that this work was done under the influence of the Elizabethan 
period, and hence we have assigned the date. The scrolled skirt is here 
an important decorative feature. The balls of the feet in front have lost 
something, it is difficult to say how much, because we cannot precisely 
define their contour. If we say two inches we shall probably not be far 
amiss. 

Size: 48 inches across the frame in front, 484 inches high, 19 inches 
deep. 

No. 217. The cupboard of the Essex Institute has been shown pre- 
viously in Lockwood, and perhaps in other works. We have broken over 
our rule in this piece and in Nos. 219, 221, 222 and 223, in showing pieces 
that were published previously. We do this to make a very complete 
showing of these cupboards. But because they have been shown before 
Nos. 221-223 are now set forth in reduced form, for comparison only. 
No. 217 is an interesting and handsome specimen. We have had before 
practically the same detail of large pillar and of double arch on the bevel 
of the cupboard. The channel mold on the square above the pillars, how- 
ever, is something different. 

There is a curious scratch carved molding just above the top drawer. 
It appears to be almost like rude lettering. It is possible that it is 
reminiscent of the Norman serrations seen on the Plymouth cupboards. 

This cupboard is on public exhibition at the Essex Institute, Salem. 

No. 218, from a photograph made for the author, but unhappily very 
dark, shows a court cabinet or a cupboard with doors. We give it the name 
cabinet to distinguish it from a court cupboard, because within its doors it 
has a series of drawers. The phrase “cabinet ” has been commonly and 
loosely used of court cupboards. Cabinets are far more rare than cup- 
boards. Three or four other examples are perhaps known. This piece 
has the characteristics in its brackets, “ modillions” or corbels, names 
loosely used to indicate the same thing, and in its upper door moldings, 
and in the cross division of lower panel doors of the Plymouth cupboards. 
But there the similarity ends. We have here the ball feet, in the flattened 
or onion pattern, which are seen on some of the good chests. The heavy 
moldings and shelf between the sections has much the appearance of the 
two part chests. The piece has been slightly restored. It is understood 
to have been found not a very great way from Albany. Perhaps we are 
right in assuming that it originated in New England and that it was re- 
moved to New York state when the owners changed their location. Of 


236 FURNITURE OF THE PILGRIM CENTURY 


course it is entirely possible that a New York state cabinet maker got his 
design from New England or from old England. 

Owner: Mr. J. F. Bernard of Albany, New York. 

No. 219. This cupboard also was shown in Lyon. He left in his 
estate another cupboard varying but slightly from this example. 

The owner of the piece shown is Yale University. The cupboard is 
of oak except the drawer bottoms of pine. The parts are made separable 
as usual. It is interesting to note the statement of Lyon that this cupboard 
was bought from Durham, Connecticut, the source of No. 205. The origin 
of the cupboard that Dr. Lyon left in his estate was Madison, Connecticut. 
The coast region in that vicinity was rich in pieces of the kind, which is 
also apparently the home of the torus-molded cupboards, two of which 
we show. The special interest of this cupboard, aside from its handsome 
decoration, is that it has a straight front and that the cupboard section is 
not recessed. It is thus of a different type from any others that we know. 
It is affiliated with the court cabinet already shown in that respect. The 
very heavy between-drawer-moldings, all carried around the ends, and the 
nail heads on the front and ends, are striking features. The raised diagonal 
square at the center of the top end panel is also a peculiar feature. Is it 
the basis for some other decoration to be attached? 

The series of dentils under the central, principal, shelf appears also 
under the cap board of No. 205, the other Durham example. This is, of 
course, a far more important piece than that, and earlier. It has lost 
several inches from the feet. 

An outstanding impression at first glance is the peculiar and extraor- 
dinarily heavy molding at the base of the upper part and the same mold, 
repeated in smaller section, at the base of the lower part. At first thought 
one would say that this molding was reversed. It is found, however, in 
its correct form here. We do not see it often enough to become accustomed 
to it, and we are not sure that it adds grace. However, it is very distinctive 
and interesting. 

Size: 514 inches across the front, 57 inches high, 234 inches deep. 

No. 220. This is almost a repetition of No. 204. In fact the 
similarity is so great as to force the conclusion that the pieces had an 
identical origin. The torus molded drawers are identical. A slight 
difference appears in the cornice or hood mold, it being divided in the 
specimen before us into two parts with triglyphs between, corresponding 
with the triglyphs at the ends. 

The drops on the stiles of the lower section indicate that something 
is not quite right, as they are not set true. Probably they became detached 

















ARCHED PaNnEL ScROLLED CUPBOARD. 1720-50. 


248. 


249. 


CanoPiED CUPBOARD. 





1730-60. 





1730-60. 


Waxnutr Guass Door CuPBoarRD, 


250. 





251. CarvEepD AND ArcH PaneL WaRDROBE. 1720-30. 


FURNITURE OF THE PILGRIM CENTURY 241 


and were carelessly returned. Their appearance at present is too lean 
and meagre, so that it may be they existed in pairs originally. 

Owner: Brooklyn Public Museum. 

No. 221 is a straight front cupboard belonging to the Metropolitan 
Museum in which we believe some critics recognize foreign elements. 
It is a handsome piece but if it is not American, perhaps we had better 
not discuss it. In this we may be wrong but we have not been able to 
go into the matter. 

No. 222 is also in the Metropolitan Museum, from the Bolles Col- 
lection. The interesting feature about it, is that we have here the same 
torus mold on the drawer as is shown in No. 220, only that here it is 
perfectly plain. The open base is supported by pillars that duplicate 
those in design above them and are of practically the same size. The 
pendant from the keystone of the arch, on the door, and on the splayed 
sides, is practically the same in design as those seen on other cupboards. 
We may consider it probable that this piece originated in southern Con- 
necticut. 

No. 223. An inlaid cupboard, has previously been illustrated, but 
this example is so interesting in many particulars that we venture to show 
it again, although in a reduced form. The inlay is on the heavily 
blocked central panel, and on the drawer, in the form of diagonal check- 
ers. The general type seems to be a little later than most oak cupboards, 
a conclusion strengthened by the smaller section of the corner stiles. The 
arrangement of the blocked panel was perhaps copied in the whitewood 
chest No. 82, a later example. 

Owner: The Rev. Edward C. Starr, Cornwall, Connecticut, to whom 
we are indebted for the courtesy of the photograph. 

No. 224 has already been mentoined in connection with the other 
view of it. 

No. 225, a court cupboard in yellow pine. It seems straining a point 
to name a simple piece of this nature a court cupboard. Nevertheless 
the owner doubtless made it in this form in order that he might claim the 
name. We may call it the poor man’s court cupboard. While not as 
good a piece as No. 224 it has some features of great interest. It is not 
decorated, but had a plain red paint upon it. It shows its fine old butter- 
fly hinges on two levels. The “panel doors” below project from the 
front in the manner of one oak cupboard shown. The applied moldings, 
forming the false panels, are all original. One of the posts was missing 
and also the drawer, but its location and size were marked by the re- 
maining run or rider which shows in the photograph. There is an over- 
hang at the ends corresponding to the hooded section in front. This 


24.2 FURNITURE OF THE PILGRIM CENTURY 


overhang has also the narrow shelf in front of the recessed cupboard, 
and has the favorite gouge carvings. There is a pine shelf inside each 
cupboard at about half the distance from the base to the top. 

Size: the section of the post on the square portion is 14 inches. The 
cupboard frame is 35 inches across the front. The hight is 51 inches 
and the depth 17 inches. The size of the cap board is 435 by 20% inches. 
The cap board is molded at the top, in front, to match the applied mold- 
ings. 

Origin: The piece is said to have come from southern New Hamp- 
shire where another one exists with painted decorations and a splayed 
cupboard. 

We here conclude our view of court cupboards, which we have tried 
to make sufficiently ample, in the examples and the data, to prove satis- 
factory for a cursory student. 

Nos. 226—227. Shows two pairs of sconces from the estate of George 
F. Ives. The pair at the left is of a design frequently seen in tin, with 
grooves stamped to represent rays. The design at the right showing a 
set of three candles in front of an oval reflector, is quite distinguished. 
It would appear, however, that the reflector is inadequate for the position 
of the candles. 














252. ScRoLLED PENNsYLVANIA CUPBOARD. 1730-70. 





1737 


E CupBoaRD WALL. 


$ 


Hovu 


RoxBinson 


aikige 





1720-50. 


PaneEL Work FROM CONNECTICUT. 


254 





PaNELED CaBINET. 1680-1700. 


255. 





1700-30. 


Pine CupsBoarpD. 


yh ee as 
: ‘ ~s ae 
tee Xo, 





257. Drininc Room or Quincy HomEsTEAD. 1740-50. 





258. Over Mantet Cuppoarp. Wiiuiams HouskE. 1717. 


PINE CUPBOARDS 


Tue interest in pine cupboards may be said to exceed the interest in 
any other class of furniture of their period. It is difficult to dis- 
tinguish between the classes of cupboards because they blend into one an- 
other so gradually. We have already discussed several pine court cup- 
boards. For the greater part the class we now take up is made of white 
or soft pine as distinguished from the earlier yellow pine. We are in- 
cluding in this class of pine cupboards the walnut cupboards of substan- 
tially the same period and design. We are also including the built-in 
side or corner cupboards, and the wall cupboards, which, for the sake of 
clearness, we could also name suspended cupboards. Hanging cupboards 
is an expression which we have found used of wardrobes, the “ hanging ” 
in that connection referring to the hanging of clothing. If a hard pine 
cupboard happens to be found in any of this classification we shall discuss 
it here. 

No. 228. The altogether best built-in cupboard we have ever seen 
was in the Jaffrey House in Portsmouth, New Hampshire. It was pur- 
chased by the Boston Fine Arts Museum. It is of great hight so that 
there was room for an elaborate and extended capital consisting of carved 
foliage upon which the upper member of the cornice proper is imposed. 
Cornices of rooms of the period were properly and often built in the 
same design as the cupboard cornice. Perhaps the builder thought of it 
the other way about, and ran his cornice around the room, afterwards 
‘ accommodating his cupboard to it. 

The demidome cupboard of this class is either of wood, and carved 
as here, or of shaped lathe and plaster. A comparison should be made 
between the plastered demidome and the half-barrel plaster domes of 
doorheads. 

The Jaffrey cupboard has the best carving in its dome of any that 
we have noticed. The foliations about the rosette at the center of the 
spring of the arch are freer and better than we usually find. The same is 
true of the somewhat elaborate semi-circle with which the arch ends on 
the face of the cupboard. 

The ribs of the arch are usually supposed to represent a shell. In 
this case they seem to be more strictly architectural, suggesting groined 
arches. 

247 


248 FURNITURE OF THE PILGRIM CENTURY 


The date of this cupboard is very early. It shows pilasters on its 
face whereas nearly all other domed cupboards have their elaborate pillars 
or pilasters hid behind the wainscot which the author cannot think to be 
otherwise than an architectural blunder, caused by the confusion of the 
introduction of cupboards about the same time as the wainscot. The 
pilasters here have the stopped flutes, and there is an enrichment by carv- 
ing near the top of the flutes. The molding of the cornice 1s enriched 
by a “pencil and pearl” member and above that by a wider band of 
serrations. 

The door of the cupboard is very good, the two panels being hand- 
somely scrolled in an unusual pattern at the top. There is a slide imme- 
diately below the main cupboard, and then a drawer, and below all there 
is the usual small cupboard in the base. There is the further differentiation 
of a drawer in the very bottom. Hence, in the number of its details, 
its enrichment, and its peculiarities, it is easily first. 

No. 229. This is a somewhat simpler shell top cupboard in the side 
wall of the Webb House, Wethersfield, which is open to the public, it 
having passed from the author’s hands to those of a patriotic society. The 
cupboard stands on one side of the fireplace. On the other side the 
paneling is identical, but the door opens to a passageway to the back 
parlor. The custom of placing cupboards in the side wall rather than in 
a corner is not unusual, hence it is not proper to use the term “ corner ” 
cupboards in general of these pieces. We have yet to learn of a cupboard 
with a shell top and in pine that was not built in. Of course the plaster 
domes were always built in. 

It will be seen here that the cornice of the side wall does not match 
with the cornice work over the cupboard. This arises from the fact that 
the cornice was the outgrowth of the beam construction as we find it in 
our colonial houses. It will be seen that the cross panels of this cupboard, 
called after St. Andrew, are common in Connecticut, sometimes in a 
scrolled or more elaborate form. The doors below in this cupboard have 
the H hinges. The fine pillars are entirely hidden by the wainscot. The 
detail of the shell, the initial point of the carving on which is a corbeled 
turning, with a sunburst above, is interesting. On the panel work, with- 
out, the keystone is carved like a wild rose. 

Regarding the date of these cupboards, that of the Jaffrey House 
previously described is the earliest that we have been able to trace, of a 
design so good. If we say that these cupboards ranged from 1720 to 
1760 we shall be very close to the truth. None has ever been seen, to 
our knowledge, in dwellings of the Revolutionary period. By that time 
cupboards were being built in mahogany, especially in Pennsylvania. 


“SUE Rs VHsREMMS mI 


Partor oF SparHAwK House, KITTERY. 


259. 


260. Carvep EmBrRoiDERY YARN HoLper. 





1740-50. 





1680-1700. 





SusPENDED CUPBOARD. 


262. 


Cocxep Har Cuppoarp. 


261. 





CorNER CUPBOARD. 


264. 


Heart HancerR CUPBOARD. 


263. 





265. Marsu House Cuppoarp. 1730. 266. Lirrte Dresser, 1720-50. 





267. Spinninc ATTic. 1760. 268. 17th Century Partor. 


AP AEM 





1730-60. 


PENNSYLVANIA WARDROBE. 


269. 


FURNITURE OF THE PILGRIM CENTURY 253 


But in New England detached corner cupboards of a fine type are almost 
nonexistent, and we cannot think that they were found, except possibly 
sporadically. 

No. 230. An unusual feature of this cupboard is the carving from 
the solid of the irregularly shaped panels, which form the sides of the 
opening. At the top the same contour of the scroll is carried out, but 
without the carving. Mr. Lockwood shows another cupboard almost like 
this except that the small square panels in his specimen are carved. This 
it will be observed was a side cupboard. 

Owner: Mr. Edward C. Wheeler, Jr. 

No. 231. A beautiful and very unusual corner cupboard. Owner: 
Mr. Sherwood Rollins of Boston. 

An interesting feature of this pine cupboard is the two urns which 
are cut, intaglio, on the cornice, each side of the central medallion or 
sunburst. The sunburst in this form is otherwise denominated a patera. 
The happy conceit was used a great deal at a later period in painted or 
inlaid decoration in Sheraton furniture. We find it here carved. The 
row of smaller paterz, on each side of the cupboard opening, is the chief 
decorative feature. 

No. 232. A pine cupboard with a scrolled opening at the sides and 
top. The door is a restoration. Cupboards of this sort are now being 
called pewter cupboards, although we do not suppose them to have been 
in use until about the time china was introduced, and we believe that, 
owing to their small size, they were designed chiefly for the exhibition 
of china. Perhaps the very long open dressers, to be shown, were more 
generally used for pewter. Those large dressers, being usually a part 
of the structure of the kitchen, would naturally be used for the polished 
pewter. Whereas, the smaller cupboards, being portable, and often 
found painted, might be found in dining rooms. There is no class of 
furniture more sought at the present time than are the narrow pine cup- 
boards. 

Size: The width across the front is 374 inches. The hight is 774 
inches. 

No. 233. This heavy corner dresser or open corner cupboard, is 
owned by the Pennsylvania Museum, and was in the author’s former 
collection. It acquires its charm largely from the very small circum- 
stance, as would appear on first thought, that the boards of which it is con- 
structed, instead of being # to of an inch, are a flush inch in thickness. 
This slight difference gives a solidity and permanence of feeling hardly 
believable. It has its original HL hinges, and the two panel door. The 
moldings are simple and are applied under the main shelf and down the 


254 FURNITURE OF THE PILGRIM CENTURY 


angles and corners. It is quite difficult to date a piece of this kind, since 
its vogue extended through a considerable number of years. Its boldly 
scrolled end boards and its curved shelves add to its beauty. 

Nos. 234-236. We have on the left a pair of true goose neck and- 
irons with the head worked on the iron. The center pair is merely of 
straight balls and not uncommon. The right hand pair is crooked neck 
with balls, varying but slightly from a pair already shown. 

No. 237. This is a scrolled open cupboard, whose odd features are 
the scrolled shapes of the feet and the scrolled back. Here also, as is 
most unusual, the main shelf extends over a scrolled section. 

No. 238. A New England dresser with the usual cornice, in the 
plain form, and the usual scrolled boards at the sides. The end board 
is in one piece from the floor to the cornice, as distinguished from the 
Pennsylvania type, which is made in two parts. In the author’s former 
collection. 

No. 239. A corner dresser with cupboard below, in the Benning 
Wentworth House at Newcastle, New Hampshire. The corner post of 
the house is availed of to form a finial for the cupboard, which is recessed 
on each side of the post, into the wall. A most interesting and tasteful 
arrangement. 

Nos. 240-242. The middle pair of andirons has its tops ham- 
mered thin, like a pie crust dough, and rolled over. The right hand 
pair has its tops turned down to a flat surface, on which is hammered 
an extension in the form of a simple colonial scroll of the “ pig-tail ” 
sort. 

No. 243. The Fairbanks House is perhaps the oldest frame dwell- 
ing in our country. Certainly it has that appearance. The picture of 
the kitchen shown has a dresser with handsomely scrolled end boards, 
built against the wall sheathing. The dwelling, which is supposed to 
date 1636, is of course much older than the dresser. Nevertheless, the 
style of the scroll, with its fine beaded edge, indicates a very early type. 

No. 244. Mr. George Francis Dow has furnished us this photo- 
graph, which we believe to be the front of a livery cupboard, in oak. It 
was found in the Capen House at Topsfield. We do not know of any 
other ancient American example. The turnings closely resemble those in 
our oldest chairs, especially one Brewster chair. It may be that the 
turnings on such cupboards suggested this spindle work on the oldest 
turned chairs. It is supposed by Mr. Dow, that the cupboard on which 
this front was used hung on the wall. There is in the Capen House a 
hutch, which was found in an old farm house, some three miles away. 
The specimen resembles the English type, the only one we know to 





as 


1690-1710. 


DecoraTepD Kas. 


270. 


li lai eal eal Sep eer 





271. Waxtnut Kas. 1730-60. 





272-276. WoopveNn Spoons anpD BowL. 





SUSPENDED CUPBOARD. 


278. 


SusPENDED CUPBOARD. 


277. 





Spoon Rack 


280. 


Cross-PAN ELED CUPBOARD 


279. 





SMALL CUPBOARD. 


281. 








Pine Crap Le. 


282. 


FURNITURE OF THE PILGRIM CENTURY 259 


have been found in this country. The door differs from the livery cup- 
board front, and the result might be called either a hutch or a cupboard. 

A point of much interest is the fact that the back legs are made shorter 
than those in front. In some instances back legs decayed more than the 
legs in front. In this case it is believed that the legs were originally 
made shorter in the rear, to rest upon the ancient sill, which in the oldest 
houses projected into the room, as now in the Capen House. 

No. 245. A corner cupboard, with a scrolled opening, from the 
George F. Ives Collection. The hinges here shown are one of the 
earliest types, without pins. We do not know whether they were 
originally on the cupboard. 

No. 246. There is shown here the proper arrangement for a short 
cupboard and wall cupboard. They should be placed one above the 
other, so that a person may not stumble upon the lower one or hit his 
head against the upper one. If either of these two cupboards is missing 
the effect is unfinished. Their origin is Pennsylvania. The lower cup- 
board had drab paint upon it. When this was removed, bright star 
decoration, in black, was found on the raised paneled door, and on the 
drawer. It was necessary to retouch these stars. The cupboard at the 
top finishes in an interesting scroll. The cupboard above has the mortised 
hinges, and a similar star on the raised panel. Here an odd feature of 
country construction is that the molded corner of the cupboard extends 
through to its base, so that the base mold on the front and on the end is 
stopped before reaching the corner. 

No. 247. A scrolled dresser of the type generally seen in Pennsyl- 
vania. The method of attaching the hinge is plainly shown. We have 
not here the plain modern butt, as the parts of the hinge enter the wood 
on each side by a mortise and are held in place by a rivet. The quarter 
round molding in the panels of these doors is the proper type. A more 
elaborate molding in this location is later. The slots on the lower free 
shelf, for spoons, are cut through to the front rather than being blind 
slots, as usual. One should take note of the scrolled top board, such as 
appears often in Pennsylvania pieces, and seldom in New England 
examples. The photograph is furnished by the Shreve, Crump & Low 
Co. of Boston. 

No. 248. A cupboard of much interest in spite of the fact that the 
fluted columns were not provided with space to run to the top. They 
are left in the air and should, of course, have been confined to the base 
if they were to be used at all. Notwithstanding this defect the doors 
are interesting with their small twin panels in the arched form. One 
should notice that the top of the panel runs in horizontally on each side 


260 FURNITURE OF THE PILGRIM CENTURY 


before the arch begins. This is a stylistic matter of much consequence. 
The American carpenter tends to arches, and if you ask him to prepare 
a base for a wall sign he will almost invariably arch the top, but will 
omit this special feature which really gives character. 

As appears, the scroll is molded on the edge, and in the center, on 
top, there is a spiral wheel or a shell carved. 

Owner: Mr. Edward C. Wheeler, Jr. 

No. 249. A most unusual and attractive form of a small dresser 
with a scrolled hood or canopy. The shape of the scroll on the board 
is that of an elongated C. The scroll also reminds us of the arm of a 
settle. The material is pine. The piece was found in Rhode Island. 

Owner: Mr. Edward C. Wheeler, Jr. 

No. 250. The finest movable cupboards we find are in walnut. This 
cupboard with doors, in that material, probably came from Pennsylvania. 
The doors are designed to be viewed as closed, being each, in their design, 
the half of a semi-circular arch. The paneling done on the pilasters is 
simple but effective, as is also the corbel of the keystone. 

No. 251. A very rare piece in pine. In fact, it is the only attractive 
wardrobe in that material that we have seen. The interesting central 
panel of the door is cut from the solid. The narrow pair of panels above 
is attractive. The wardrobe is owned by Mr. Edward C. Wheeler, Jr. 

No. 252. A fine example of a Pennsylvania dresser with the so-called 
rat tail hinges on the pairs of doors. There are also the conventional 
large sized long knobs found in that region. This piece is beautifully 
scrolled at the top and sides. The cleats placed at the intersection of the 
two parts, to form slots on the main shelf for the reception of the scroll 
boards, are plainly visible and are characteristic. The hinges are prob- 
ably contemporary with hinges we have already shown on similar pieces, 
but without this form of a brace. 

The lower free shelf has a wide molded edge. The bars to prevent 
the falling forward of objects displayed are also here shown for the first 
time, in this work. 

The owner is Mr. Arthur W. Wellington. 

No. 253. When we discuss built-in cupboards we are on that border- 
line where architecture mingles with furniture design. There has been 
of late a revival of the idea of built-in furniture, and we confess that it 
is very attractive to us. The instance before us is that of a dwelling in 
Wethersfield, one of the oldest now standing in that town, and showing 
a side wall cupboard back of the arch. The arrangement by which the 
keystone is blended with the cornice, and by which the cornice is broken 
to form this keystone, and also the capitals of the narrow pilasters, on 


| | 
| 
| 
| 


284. 


New Encuanp Two-part DREssER. 





1730-50. 





285. Pipe Box. 286. Pipe Box. 





287-289. Pipe anp Watt Boxes. 


FURNITURE OF THE PILGRIM CENTURY 263 


each side of the fireplace, is a very good example of the best style of 
paneling, which came in about the period of the cabriole leg. 

No. 254. A remarkably fine example of southern New England 
panel work. It is in the Metropolitan Museum. We have here several 
characteristic features. They are the early scrolled top arched panels, 
the pilasters with an intaglio star or rosette on the capital, and the St. 
Andrew’s cross in the lower panels. There is also about the fireplace 
molding and about the great panel above it a heavy bolection molding. 
This molding is the best date mark we know on early American houses. 
We have seen it in the decade between 1750 and 60. It is usually seen 
in the earliest American panel work, and before the date named. The 
earliest moldings of this sort are the largest. 

No. 255. A cabinet, perhaps in Spanish cedar. We have in this 
piece an interesting instance of the difficulty of naming the species of 
wood. It has an appearance closely resembling walnut, but not as close 
and hard. It also resembles bay wood. The interior was completely 
filled with small drawers with light round ring handles. Some of these 
drawers are lost. A minor portion of the bosses and moldings have been 
restored. Comparison shows that the panels here are quite like those 
on the Plymouth chests and cupboards. We do not know the origin of this 
piece, but it was found in a private house in Boston in 1923. That it was 
designed to be set upon another piece of furniture is obvious from the 
shape of the base, and from the ancient handles on the ends. The hinges 
are handsomely scrolled and are shown later in detail. 

Size: Over all, 32 by 23 by 114 inches. 

No. 256. A yellow pine wall cupboard or table cupboard. This 
piece is of considerable interest, owing to the wide bevel of its raised panels 
and to the fact that it has a panel of wood below and of glass above in 
each of its doors. There is a shelf behind the central rails of the doors. 
We have observed with much interest the manner in which the public 
“take to” set-in, small, pieces of furniture, which have no very notable 
features. This cupboard has always excited much admiration, or perhaps 
we ought to say affection. 

Size: Over all, 274 by 244 by 103 inches. 

No. 257. The Quincy Homestead, in the town of the same name, 
is sometimes erroneously called the Dorothy Q. House. The earliest part 
of this house, very ancient indeed, has been added to, on more than one 
occasion. ‘The section shown here dates from the earlier part of the 
18th century. The picture is particularly satisfying in that it partially 
reveals the fine pilaster and spandrel of the shell top cupboard, hidden 
away behind the panel work. If we were to hazard a guess it would be 


264. FURNITURE OF THE PILGRIM CENTURY 


that the panel work was put in place very shortly after the cupboard. 
Yet, the cupboard should not be thus hidden, and the assemblage of the 
two elements shows a confusion in design. ‘This cupboard has a narrow 
drawer. Instead of the usual door below, the large door, now at least, 
takes the place of it. We should not omit to say that the earliest recessed 
cupboards are sometimes found without a door, and, if so built, are re- 
garded with the greater interest. 

No. 258. A detail showing a recessed cupboard over a fireplace in 
the Williams House in South Easton. The opportunity to form the 
cupboard arises from the backward rake of the chimney face above the 
fireplace. The example is one of the earliest that we know. In the 
same house there was a diamond-pane leaded window, which has now 
been removed to the Taunton Museum. 

There are other corner cupboards in this house, built without doors 
above. 

The fashion of recessing cupboards in what would otherwise be waste 
spaces in the walls is excellent. It also appeals to our sense of the ro- 
mantic and the mysterious. We feel in a house with such receptacles as if 
we were reading an old time tale of mystery, love and war. 

No. 259. ‘This is a distinct surprise to those who first view it. There 
are here two cupboards set one on either side of the fireplace in the parlor 
of the Sparhawk House at Kittery. The cupboards are identical, with 
demidome shell-tops. The line from the front to the main wall runs back 
in a diagonal or splay. While we cannot feel that the projection of a 
fireplace into a room is the most satisfactory treatment, we are willing to 
admit that, if it is to be so projected, its treatment by cupboards of this sort 
almost redeems it. 

No. 260. The objects here shown are the upper and lower sections 
of a hanging rack to hold skeins of embroidery yarn. Numerous cords 
at spaced intervals passed in pairs from the bottom to the top element and 
were gathered above in a quaint iron hook by which the piece hung from 
the ceiling. By lifting the upper section skeins of silk or wool could be 
laid in order, their ends projecting and cut open, so as to form needles 
full. The object was to prevent the blowing about of the yarn simply by 
the weight of the upper part laid against the lower. The wood is Con- 
necticut hickory, otherwise often called white walnut. It was long before 
we could learn the use of this piece. The carving, which suggests the 
sunflower, and other elements of abstruse origin, provides a quaint little 
article of much interest. The length of the sections is 174 inches and 
their width 34 inches. 

No. 261. A little wall or table cupboard with drawers. The tri- 


290-292. 


TureEE TYpPeEs oF 





Piet Boxes. 





294. CorNER Fire Pace. 


Lo den SE 


295. 


CarvED TRIANGULAR 


CHAIR, 





17th CEenTurRY. 


| <a 





Ea ack Ete 


sso ncaa ita Lie 


1630-50. 


Roprnson Warnscot CuHaIrR. 


296. 











Rector Pierson Warnscor Cuarr. 1640-60. 


297. 


FURNITURE OF THE PILGRIM CENTURY 269 


angular top section was designed for a cocked hat, and has a rounded rest 
of wood for the hat. Probably the lower drawers were used for a gentle- 
man’s neck linen and his stocks. The piece dates in the earlier half of 
the eighteenth century. It was in the author’s former collection. There 
is in the Stone House, Guilford, a similar piece; the author has another; 
and he has seen a triangular table box with the cover opening upward. 

No. 262. A set of open shelves with scrolled edges and top, to be 
attached to a wall. In the author’s former collection. The shelves are 
convexed, and the whole affair is small. It dates probably in the eighteenth 
century. The sides are rabbeted. 

No. 263. A suspended cupboard with hanger cut out in the favorite 
heart pattern. The design of the raised panel indicates the eighteenth 
century, probably about the middle. It is from the George F. Ives Col- 
lection. 

No. 264. A little, primitive, corner cupboard, much weathered. It 
is probable that the design of the small shelf on the extended scrolled 
portion below is of Pennsylvanian or Jersey origin. 

Size: 12 by 36 inches. 

No. 265. This cupboard, with a plastered demidome, was taken from 
the Marsh House, Wethersfield, from which we get the date. The cup- 
board was set up in the dining room of the Webb House in the same town. 
The door with its heavy muntins and its small, quaintly shaped, arched 
top sash is very good. The shelves within are shaped. The material, of 
course, is white pine. 

No. 266. Ai little scrolled dresser. The perfect sweep by which the 
side scroll blends with the top scroll is an unusually good feature. The 
piece is in yellow and white pine with maple cornice mold. 

The recessing of the upper cupboard adds to the attraction of the 
piece. It was found near Boston. 

Size: 734 by 384 by 164 inches. 

No. 267. Is the spinning attic of the Wentworth Gardner House in 
Portsmouth. It contained a butterfly table and in the distance a garter 
loom. 

No. 268. Isthe parlor of the Iron Works House, Saugus, as restored, 
and showing a huge rug, Brewster and Carver chairs, a wag-on-the-wall 
clock. The chair at the left foreground is supposed to be of continental 
origin, and the style perhaps came into western Europe from Constanti- 
nople. This is the sort of a chair which Walpole wrote about when he 
asked a clerical friend to pick one up for him. We do not show this chair 
in detail because we have never seen one which we believe originated in 
America. 


270 FURNITURE OF THE PILGRIM CENTURY 


No. 269. A Pennsylvanian wardrobe. This piece is of much more 
pleasing construction than a kas. The good cornice with its dentils and 
the numerous well formed panels, and the quaint central pointed foot, 
with the bracket feet at the side, contribute to form a piece of much attrac- 
tion. We now get into a period that demands Chippendale hardware, 
but the hinges are the quaint Pennsylvanian type. This piece is in walnut, 
and was found by Mr. C. C. Littlefield of Newfields, New Hampshire. 
The construction is similar to that of a kas, fastened together by wedges 
and slots. 

No. 270. Mr. L. G. Myers of New York City is the owner of this 
finely decorated kas. The word is applied to pieces found near the Hudson, 
and of this general character. So far as we have noted they all have 
immense ball feet and large cornices. They are usually in walnut, and 
have as here drawers in the frame or base. They are not made with a 
true frame but are put together in sections with wedges, and the top is then 
fitted on to complete the work. The elaborate decoration here reaches its 
climax. The painting on the two doors is intended to be identical. The 
three stiles are also identical. The decorated ends did not come out well 
in the photograph, but they were by no means slighted by the painter. 
It will be seen that the heavy moldings run around the ends. Altogether 
we have here a striking example of Knickerbocker work. 

No. 271 is a kas on which the drawer handles have now been replaced. 
It is a somewhat simpler form of No. 270. The material is plain walnut, 
and the cornice is huge. The plain kas of this sort seems not to be popular 
amongst collectors. Yet certainly it possesses a good deal of individuality. 
We believe that as a rule very large pieces are less sought for. This 
remark, however, would not apply to beds, or to trestle tables. 

Nos. 272-276. These interesting spoons, one with scrolled handle, 
and the slightly oval shallow plate or bowl with scalloped edge, belong 
to Mr. Albert C. Bates of Hartford. It is not always possible to know 
whether a bowl is made by an Indian or by the settler who learned the 
art from him. Of course if the bowl is turned the origin is settled as 
coming from the American pioneers. 

No. 277 is a wall cupboard owned by Mr. J. Stodgell Stokes of Phila- 
delphia. Its appeal is very strong. The cubby above the door is a fasci- 
nating affair with its quaintly scrolled border. The arch above, a part of 
the heavy molding, is an addition to the merit of the piece. 

The door attached with the mortised and riveted hinges has in addition 
to the beveled and raised panel, still another raised surface upon it, with 
scrolled corners. The side panels on the splay are winning in design. 


FURNITURE OF THE PILGRIM CENTURY 271 


Altogether the piece is one to cause us to remember the tenth command- 
ment. 

No. 278. A long and narrow cupboard to be placed on a shelf or 
attached to the wall. Its hight, its three drawers increasing in width, and 
its paneled door with three butterfly hinges, are all elements of interest. 
The material is pine and whitewood, and the drawers have a lip. It 
belongs in the earlier half of the eighteenth century. 

Size: The hight is 48 inches and the width is 20 inches, and the pro- 
jection from the wall is 12 inches. These measurements include the 
moldings. 

No. 279. A remarkably good specimen of a cupboard, from its gen- 
eral style and from its rare features. The owner is Lucy Atwater Royce 
of Hartford. The piece came from a sea captain in Madison, who 1s 
eighty-five years old. He stated it belonged to his grandfather. The 
piece unhappily has lost its cornice. The two doors with what in furniture 
we call the Connecticut cross, and their raised triangular panels, are, of 
course, the outstanding features. We would call this a cupboard and not 
a dresser, since it has a door above. The date would fall within the earlier 
half of the eighteenth century. 

No. 280. A spoon and knife rack shown in larger proportions than 
the cupboard. The wood is pine, each shelf being strongly molded. In- 
stead of a drawer below there is a quaint little lid hinged like that of a 
till of a chest. The general effect is very pleasing. 

Size: 134 by 234 by 54 inches. 

No. 281. Is a small cupboard of walnut, unrestored. The original 
hinges of the buckhorn pattern are themselves important. The piece stood 
in a corner so that it is paneled on one end only. 

The chief feature of interest is the blocked paneling. Above the 
ordinary raised beveled panel there is carved to a depth of 1°5 of an inch 
a scroll of pleasing contour. The author found the piece in 1923 in 
eastern Pennsylvania. A little restoration would render this cupboard 
very handsome. 

Size: 254 by 284 by 14% inches. 

No. 282. Is a framed cradle with pine sides and ends. The posts 
follow the analogy of the earlier cradles, since they are finished with 
turned finials. The date is probably late seventeenth or early eighteenth 
century. In the former collection of the author. 

No. 283. Represents two Pennsylvanian corner cupboards arranged 
as they should be, one above another, to set off and complement each the 
lack of the other. The lower piece is in pine and the upper piece in 
whitewood. ‘The hinges below are especially good. Those above hide 


272 FURNITURE OF THE PILGRIM CENTURY 


their shape in mortises. The general arrangement of the doors, drawers 
and paneling forms a satisfactory ensemble. The bracket feet of the 
lower section and the scrolls on the upper section supply a proper finish 
to the design. 

Size: Lower cupboard, 32 by 40% by 20% inches. Upper cupboard, 
35 by 26 by 24 inches. 

No. 284 is a two part New England dresser, and is the only New 
England dresser built in two sections, that we have seen. It is all of soft 
pine. There are shallow grooves cut on the main shelf into which the 
end boards of the upper section are made to slide. In addition to this 
peculiarity the dresser has what we have noticed in perhaps a half dozen 
New England pieces, a scrolled board on the cornice. 

In this work we are not generally using the technical term entablature 
which of course, properly means more than a cornice. In popular speech 
the tops of these cupboards are generally spoken of as cornices, a term 
including the frieze and the cornice proper. 

This dresser has all the elements that we look for in a complete piece, 
including the doors at the sides with their original H hinges, and made 
with the early panels; also the three drawers between the doors. 

The main shelf or dresser proper extends for its full width over the 
end so as to preclude the possibility of a one piece vertical end board. The 
origin is Hillsboro County, New Hampshire. 

Size: 65 inches across the front; 89 inches high, and 174 inches from 
front to back, in the lower section. The cornice is original with the ex- 
ception of an end return, as the piece stood in a corner where it could not 
have that return. There is also a slide which required restoration. The 
feature of a slide in a dresser, together with the other features we have 
enumerated, is rare if not unique. 





fe alana 


298. Governor LEETE Cuair. 1640-60. 





299. A SEVENTEENTH CENTURY Room. 


ay es ana ead : : “SEAR cepa 


ke 








300. THe Mosr Perrect “ Brewster.” 1640-60. 


. 


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! 
‘ 


jjs——d 


eee 


wD BBE gs oe H 





1630-60. 


Tue “ Mires StanpisH BREWSTER.” 


301. 


PIPE AND WALL BOXES 


We HAVE hitherto shown some pipe boxes under Nos. 180-183, and 
are now grouping a few more. 

No. 285. A pipe box owned by the Metropolitan Museum. The 
shape of the scrolled head on this box is precisely like that of the battle axe 
shaped design on Mr. Seymour’s Bible box No. 147. The box on the 
right belongs to Mr. H. W. Erving and is of unique shape. It appro- 
priately has with it a pair of pipe tongs, of which we have seen three other 
examples almost identical. 

Nos. 286-289. On the left, a pipe box containing the pipes of the 
shape originally used, and showing the necessity for the deep pocket. 
The central piece is a simple box with a lid, for what use we are not 
certain. In lack of a better name such pieces are usually called spice boxes, 
as is the one on the right. 

Nos. 290-292 are three types of pipe boxes, the first having a boldly 
scalloped edge all about. The material is curly maple but someone has 
ruined the surface by a heavy obscuring coat. It is a very striking piece. 

Nos. 290 and 291 are each odd in their way. The former shows a 
touch of carving at the hanging handle, and the latter has the odd feature 
of two drawers. Both pieces are in pine. 

No. 293 is a tape loom, commonly braced in place for use against or 
between chairs. Its special interest here is in connection with chair No. 296. 

No. 294 is a corner fireplace in the York Jail, Maine, an edifice now 
used as the local museum. This fireplace has the unusual device in 
America of a raised hearth. It was not so easy to take care of and 
probably not so economical. It is, however, attractive. Corner fireplaces 
always have a charm exceeding those in the side of a room, and by their 
use in eight rooms the corners of all of which should touch a chimney, 
a single chimney stack would be sufficient for a whole house. 


277 


CHAIRS 


Ir HAS been thought that the chair developed from a stool, and the 
German word for chair so similar to our word stool, would seem to bear 
out the supposition. However, the use of a throne, which was a chair, 
goes back to an antiquity so early that we can not claim a lack of knowledge 
of design, for chair backs, on the part of the earliest cabinet makers. 

It is generally conceded that the earliest known chair was a wainscot. 
That is to say, it was of solid or paneled oak in the back and probably in 
the sides, since for protection against the cold, and for beauty and dignity, 
the finest early chairs were enclosed on three sides. There is in the Metro- 
politan Museum such a chair, but perhaps it is not claimed that the origin 
is American. 

No. 295. This chair, around which some controversy has waged, since 
it is of the triangular type, and hence naturally to be regarded as foreign, 
nevertheless has arms and a stretcher of cherry said to be American. If 
it is American it was made at least a hundred years after its period. It 
is owned by Mr. Paul A. de Silva of Boston, and is or was on exhibition 
in the old State House there. It bears a label stating that it was brought 
from Lyons, France, in 1685. 

There is on the front rail what we might call a channel mold were it 
not filled with carved beads. The back post also is carved as well as the 
main top rail. The shape of the arms corresponds quite precisely with the 
earliest American wainscot chair arms. 

The design is more interesting than that of the usual three cornered 
and turned “ Walpole” chair. It is not without marks of much grace. 
We are not ready to make any statement in regard to its origin. We can 
only congratulate the owner upon the possession of a piece so excellent. 

No. 296. A chair which came to great prominence in connection with 
its sale in Guilford at public auction. 

It belonged to Thomas Robinson who removed from Hartford to 
Guilford in the year 1639. AQ little book printed for the Robinson Family 
Association and entitled “The Robinsons and their Kin Folk,” contains 
a sketch of this chair, and some description of Thomas Robinson. 

We should be glad to be able to connect this Robinson with the Pilgrim 
Robinson, but we have not sufficient data for doing so. It will be re- 
membered that the original John Robinson, pastor of the Pilgrims in 
Leyden, remained behind in the old world to pay his debts. He was a 

278 


od 


A OE RETIN yA. Rip ARCMIN RY HMC | 





OCR WB abit eat isa nana Keisitts nt 


302. A BrewsTrer-TRransiTion Cuarr. 1660-90. 








nb re 


1640-60. 


Tue Cotrron Matruer Hicu Cuarr. 


303. 


FURNITURE OF THE PILGRIM CENTURY 281 


saint if there ever was one. The reason he stayed is the reason that has 
hastened the departure for this country of various other immigrants. 

We believe his sons came to America. 

The chair shows in its turnings the earliest known American type, and 
we consider it entirely probable that a joint stool to be shown later was 
made by the same turner. As bought the chair had sections of barrel staves 
laid in the bottom as a seat. With the exception of the half inch oak 
which has now been nailed in for a seat the chair is in its original condi- 
tion, at least back to the time when some ingenious housewife induced 
her spouse to cut a tape loom in the plain solid panel which forms the 
back. That this work was not original is apparent from its crudity. The 
saw cuts are irregular. The holes through which the warp ran are as 
usual burned smooth. The sharply returning scroll on the under side of 
the arm should be observed as a characteristic. 

Every part of this chair is in oak. The simplicity of the top together 
with the color and texture of the oak and the construction in general have 
settled the question that the piece is American. 

One may note in regard to the American wainscot chairs that the back 
legs are in the form of court cupboard back legs, being stiles which are 
the extensions of the panel frame. 

Some six or eight American wainscot chairs have come to light. Carved 
chairs exist here and there, which have been described in publications as 
American. We remain unconvinced. 

No. 297. The Rector Pierson chair, belonging to Yale University, 
and in the president’s room. It will be noticed that in this example the 
scroll on the under side of the arm is more fully developed and carried 
out under the seat frame, not only in front but on the sides. It will also 
be noticed that the construction of the back is quite like that of chests. 
Indeed, so great is the similarity that a piece of oak wainscot, which has 
been found, might either have been the back of a settee or the front of 
a chest. In the example before us the molding of the stiles is precisely 
like that seen on chests. The extreme simplicity of this chair in comparison 
with English examples is to be noted. 

No. 298. The Governor Leete wainscot chair. It is in the Stone 
House, Guilford. 

Like other wainscot chairs shown, and like another one in the author’s 
possession with a scrolled top, these chairs mortised the rail between the 
back posts, not capping the posts. This is the earliest style, as we shall 
see a little later. It is also a better construction, far less liable to breakage. 

The word “ wainscot ” is in general use confined to oak panel work. 
The word is a fascinating study in etymology. The wain, the common 


282 FURNITURE OF THE PILGRIM CENTURY 


English word for a large wagon in the haze of the years reminds us of 
Constable’s pictures. The schot (English shot) means partition. Wagon 
partitions, or panels, were found to be best and strongest when made of 
oak, and in process of time the best oak for paneling was therefore named 
wainscot. Elderly Americans can well remember when the sides of 
wagons were paneled, in Pennsylvania and in New England. The work 
was done in long curves on boat shaped sides. The purpose was to pre- 
vent the tendency of the load to shift forward and backward on hills, and 
the fashion was maintained even in the Concord wagon. The famous 
Conestoga wagon which is the finest symbol of the emigration, from the 
coast states to the west of the Alleghanies, resembles nothing so much as 
a boat on wheels. It is possible that the term “ prairie schooner ” ‘used 
with a later and inferior type of wagon, is derived from the tradition of 
the Conestoga wagon. 

The term “ wainscot ” as applied to chairs means, therefore, an oak 
chair with panel work, and so of course with a solid back and sometimes 
with solid work under the arms, and the seat. This sort of chair was 
made mostly in those days when the head of the household was the only 
person having a chair. The chair was, of course, a seat of authority from 
time immemorial. In fact, the domain of a bishop is named a see, after 
a chair, through the French siege. Going farther back, cathedra, the Greek 
for chair, became the sign of a bishop’s authority, so much so, in fact, that 
the edifice built over it gets its name cathedral from the chair. The analogy 
between the dignity attached to a throne and that attached to a stately 
chair is a fascinating one. The patriarch, that is to say, of a family or of 
a church, possessed a stately seat. It was handed down, among laymen, 
to his eldest son. When the son sat in that chair his word was law. The 
connection here is close and interesting with the infallibility predicated of 
the Bishop of Rome when seated in his cathedra, surrounded in conclave 
by his advisers, and giving out a dictum. 

The chair, therefore, especially in its heavier, older and finer forms 
with the arm or “ elbow,” and appropriated by the head of the family, 
was always a mark of a certain dignity and authority. This fact is 
curiously set forth by the possession of a fine chair by most of the Pilgrim 
and Puritan religious teachers. The best known instance is the chair of 
Elder Brewster, which has attained a like fame with that of Governor 
Carver, he of the civil authority. Peter Bulkeley, the first minister of 
Concord, had a very beautiful and stately chair of the carved cane period, 
with Flemish curves, and later shown. We may suppose that this was by 
all odds the most important chair in the town. Other clergymen also had 


fn 





n 7 ae 
SESSA) ae 


1640-60. 


“ BREWSTER” CuHair, OricinaL BALLs. 


304. 


t} i) Ne: pe itm 
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sae UT ceeeeenenmenmnnmenememeell ded) 


Lode Be 
 Gesnegp @ | 0 Geom @ 
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Hain ike Me Weeiviy scent ene 
i 





305. Carver IniT1ALED Cuair. 1640-60. 





306. Great Carver Cuair. 1640-60. 





307. Brewsrer Cuair. 1640-60. 308. Pitrcrim Cuair. 1650-70. 


sy 7" eT 


pda La RR aOR Say 





309-311. CHILpREN’s Cuarrs, 18th Century. 


FURNITURE OF THE PILGRIM CENTURY 287 


their fine chairs. They were a part of the clerical dignity, a kind of 
appurtenance of office. 

We have instances, as in the case of the Robinson chair, of joint stools 
made to match the chair. It is fair to infer that the joint stools went with 
the chairs and were used by the other members of the family. The wife 
might inherit the bed, or even the court cupboard, but the son and heir 
was honored by the acquisition of his father’s chair. It went to him as 
the robe of Elijah passed to his disciple and successor. 

In process of time the wife, who was much honored, might be favored 
with a smaller and lower chair without arms, which was called the “ lady ” 
chair. It is a curious custom in parts of Connecticut, to this day, to call 
side chairs, that is, chairs without arms, “ lady ” chairs. 

The wainscot chair in its perfection, even in America, had a scrolled 
or crested top, as in the Governor Leete chair and in a chair owned by 
the author and derived from Long Island. 

No. 299. Exhibits a room with stately chairs and a huge fireplace, 
in the Saugus Iron Works House, and shows how much was made of the 
chair in those days. 

No. 300. The Tufts-Brewster chair. This specimen was discovered 
by the author in the dwelling of Mr. John Tufts, at that time living in 
Sherborn, Massachusetts. Mr. Tufts was an aged man and had no im- 
mediate heirs. He stated that the chair had been in his family for eight 
generations of record. The posts are at least two and a half inches in 
diameter, and every portion of it as here shown is original. It is wonder- 
fully put together. Mr. Tufts stated that every spindle was in place as 
he knew it when a boy. Comparing it with the chair in Pilgrim Hall, 
Plymouth, from which the name Brewster is derived, we see that this is 
a more massive and more stately chair than Elder Brewster’s. It has not, 
however, a second row of spindles at the sides corresponding with the 
bottom row in front. In that respect the Elder Brewster chair was origi- 
nally more fully carried out. The condition of the Elder Brewster chair 
is deplorable, it having lost its feet, its back rung and its top rail. It is 
an amusing circumstance that a manufacturer, a score or more years ago, 
copied the Elder Brewster chair, and was ignorant of the loss of these 
two members. The loss is clearly shown by a hole in the post on one side, 
and the stub of the rail in the post on the other side. The author was 
hurriedly summoned, and had a midnight ride across a part of the state 
of Massachusetts to see a marvelous Brewster chair. When he arrived 
he found one of the reproductions above mentioned, which had been 
washed off and aged, and was offered at a bargain, if taken that night, 
at eight hundred dollars! 


288 FURNITURE OF THE PILGRIM CENTURY 


The name “ Brewster ” we are arbitrarily confining, in our descriptions, 
to turned chairs having rows of spindles in the back, usually a row 
under the arms, and one or more rows below the seat. There are not 
enough chairs, however, to form a Brewster class, and the application of 
the term to slat back, and other chairs, in order to give them dignity and 
desirability is either a trick or a mark of lack of knowledge. The Tufts 
chair had balls on the front posts as had every specimen we have ever 
examined of Brewster, Carver, and Pilgrim slat backs. This ball was 
the first member of the chair to be attacked. It is generally found either 
partly whittled away, or it is sawed off, as in the Tufts chair. The author 
restored these balls, to the regret of the present owner, Mrs. J. Insley 
Blair. 

Size: Total hight 434 inches. The front width of the seat is 23 inches. 
The depth is 16 inches. It has probably lost not more than a half an inch 
at the bottom. 

The seat of wood is to be observed. Such seats are about a half an 
inch thick, and were set in rabbets on the turnings which formed the seat 
frame, and they are an earlier type than the seat of rush. Seats of wood 
were invariably used with cushions of leather or a richer material. Thus 
a foot stool was necessary. If, however, the chair was used at table it 
was presumed that the occupant would place his feet upon the table 
stretcher, a thing so much to the scandal of our books on etiquette. The 
tables of the earliest day were higher than our own tables, and of course 
the chairs were correspondingly higher. The use of the foot stool was 
further encouraged by the coldness of the floor. It was partly to avoid 
chilblains that stools were used. 

No. 301. A “ Miles Standish ” Brewster. The person who discov- 
ered this chair obtained information with it which led him to state that 
it had belonged to Miles Standish. Various data in the hands of the owner, 
Mrs. F. H. Lincoln of Hingham, probably bear us out in the belief that 
the chair actually did belong to Miles Standish. 

The best proof, however, of the great age of the chair, is found in its 
massive character. Its posts in places reach a present diameter of 244 
inches. ‘The fact that the chair was much cut down, and lacks the bottom 
section, suggests the amusing relation between the somewhat stunted stature 
of Miles Standish and his need of a low chair. The restoration has been 
badly done. The spindles under the arms are not original. The very 
interesting back finials, however, are original, and we think all the rest 
of the chair, except the incongruous pieces to which the casters are attached 
and the balls on the front posts. 

One should compare the flattened spindles here with those on No. 300. 





312. Wert Turnep Carver Cuair. 1650-60. 





4 
4 


1640-60. 


Very Heavy Pitcrim “ Lapy ” Cuarre. 


313- 


coo 1k 1 1h EAD REN NN ed Ucn iment, 





Licht CaRveER. 


316. 


TurNED ARM CHAIR. 


315. 





1700. 


1670— 


Pair Pincrim Sipe Suat Backs. 


317- 


FURNITURE OF THE PILGRIM CENTURY 293 


These flattened spindles are found on some other chairs, and we may 
presume that they are so made in the interest of comfort. 

Amongst the ancient worthies we may therefore enumerate as having 
come down to us, the chairs of Edward Winslow, Governor Carver, Elder 
Brewster, Miles Standish, Cotton Mather, and Peter Bulkeley, all of the 
first generation of the settlers, with the possible exception of the last. 

No. 302. A Transition turned chair in the George F. Ives Collection. 
We have here a scheme of spindles in the back like the Brewster chair 
except that they are reduced to three in number. We have also spindles 
under the arms, not, however, running into the seat as in the rarest earliest 
examples. There are, however, no spindles below the seat, and the posts 
are not so massive as in the previous examples. The student should also 
notice that the very earliest chairs have no turnings on the posts below the 
seat, as in Nos. 303, 305, 312, 314. We have quoted, we think, a con- 
vincing number of examples. The first turnings on the front posts below 
the ball were an ornamental turning between the ball and the seat, as in 
No. 301. We then get a second ornamental turning below the seat as in 
No. 300. The process goes on increasing until as here we have turnings 
on the front posts so that the only plain portions are those that receive 
the rungs. We also notice here a slight falling off in the styles of the 
finials. —The movement toward a somewhat lighter chair was natural and 
from this period on is very marked. Another chair like this is known. 

No. 303. The Cotton Mather high chair. This remarkably quaint 
example has, it will be noted on comparison, a finial closely resembling 
No. 300, whereas the top rail is different. It is fair to name this chair a 
Brewster, as it has spindles under the arms and also down the front. The 
lack of a double row of spindles in the back is easily admissible i in a high 
chair owing to its greatly reduced proportions. 

Owner: Worcester Antiquarian Society. This chair is one of perhaps 
twenty objects shown in this book that have been illustrated in works of 
other authors. 

No. 304. A Brewster chair. It is rare in having its original balls on 
the front posts and its beautifully turned finials. At the same time it has 
not so many sets of spindles under the seat as examples already shown. 
It is, however, very handsome and in very fine condition, the only restora- 
tion being a slight piecing of the feet, but below the lower rungs. 

A style mark of the turned arm chairs is that they invariably have at 
least two sets of rungs on the front and on both sides, and only one behind 
and that near the bottom. Any lack of these members is a certain indication 
that the chairs have been sawed off or otherwise tampered with. We have 


294 © FURNITURE OF THE PILGRIM CENTURY 


one or two late instances of two spindles behind in the base but we can think 
of none anywhere near the Pilgrim period. 

This chair was bought in Boston in 1923, in black paint and with a 
leather seat as shown, which, of course, is not original, it having had a rush 
seat. All balls and finials and spindles are original. 

Size: Largest diameter of post 27% inches. Total hight 453 inches. 
Outside front width 234 inches. Outside back width, 17% inches. 

No. 305. A Carver chair bearing the initials B. H. This chair has 
its original balls in front and very rare and handsome finials. It is original 
except a piecing of the legs, well below the bottom rungs, and we think 
the front bottom rung. A peculiarity is the “ short waisted ” back. This 
massive chair in the author’s collection was also in his former collection. 
Most of the more important pieces in the former collection have now 
been added to the present collection. 

The woods of Pilgrim turned chairs deserve particular attention. The 
-very earliest are generally of ash. This material is not good for turnings 
as it tends to chip and break away. Indeed, it is on account of this easy 
splitting as well of course as its toughness that it was used for bows. 

In the effort to ascertain why a wood so unsuitable was used we are 
led into some interesting by-paths. It used to be presumed that the 
Brewster and Carver chairs of Plymouth were brought over in the May- 
flower. Had that been the case we should perhaps be surprised at finding 
them in ash, unless possibly they came from Holland, where turned chairs 
were known. A simple explanation appears, however, in the very defect 
we have mentioned, the easy splitting quality. The first lading sent back 
from the new world was that of barrel staves of ash. The cooper, John 
Alden, came for the express purpose of preparing them. In securing such 
staves it was the work of a moment to split out roughly in an octagonal 
form posts for turned chairs. The settlers were not at that time seeking 
for elegance but rather to supply their immediate needs. We share the 
belief that the turned chairs of this type were not in any case imported, 
so far at least as they have remained with us. Oak chairs are common 
in England even where they are turned. We do not remember an instance 
of an all oak turned chair of the Pilgrim Century, though we have here 
and there seen oak rungs and sometimes found oak parts in the later 
turned chairs such as the Windsors. 

Nos. 300 and 301 and 312 are inash. No. 320 is also of ash, and some 
of the rungs have so far lost their glutinous connective tissues as to be 
separate stringy fibres. 

The chair before us is in maple, a very satisfactory and beautiful 
wood for turnings. It retains a close, smooth surface. But woe be to him 





ke Ns a 


318. Great Surat Back Cuarr. 1680-1700. 








Hicu Posr CARveER. 


320. 


1620-40. 


“ BREWSTER ” 


349¢ 





@ > ae @ ERIC @ IN Ze eNEe: 





Licht CaRveER. 


3225 


Licut CARVER. 


Anke 





Re 


ere 


ORM TR Sas bi ie 


1640-60. 


Heavy Pitcrim Siar Back. 


323- 





324. Pircrim Cuair. 1640-60. 325. Carver Cuair, 1650-70. 





326-327. Wroucut Kerrie Tripop anp TRIVET. 


FURNITURE OF THE PILGRIM CENTURY 299 


who undertakes to stain it, as the effects remain merely on the surface and 
do not strike in, as in ash and oak and such open grain woods. It is for 
this reason that the natural maple, a very pale yellow, far lighter than 
“ golden oak,” is so much liked and in such good taste, in refinishing these 
old chairs. In fact, it is not a refinishing, unless a coat of wax may be so 
termed. 

The use of maple came in shortly after ash, and we find chairs of this 
type and of the slat back Pilgrim period and most later chairs in maple. 

Size: Total hight, 47 inches. Outside width, front, 244 inches; back, 
183 inches. The spindles have a diameter of 14 inches. The depth from 
the front to the back at right angles is 16 inches. 

The very sharp spread of these chair seats from front to back is 
noticeable. There is here a difference of six inches in the width, and 
from five to six inches is common. 

_ No. 306. This great Carver chair has a back superior to any other 
that we have seen, in its massiveness, and the character of its turnings. 
The likeness of the finial to the Cotton Mather and the Tufts chairs is 
close. We assign the same date to the Carver, the Brewster and the 
Pilgrim slat back chairs. In fact, if there is any difference in date, it is 
to be found more definitely suggested by the decrease in the size of the 
posts as the date advances. Other things being equal a Pilgrim chair has 
an importance in proportion to the size of these posts. A few years since 
a Carver was a Carver in the eyes of collectors. Now, however, the 
massive sort is chiefly desired. This statement has in some cases nettled 
dealers in antiques. We would like their good will, but the facts about 
the chairs must be stated. 

The example before us is in maple. It is original throughout. The 
fatness of the spindles is amusingly quaint, and their style of turning is 
of the best early sort. It is even found in a Spanish bed. Possibly the 
Spanish Netherlands may be connected with our turning styles. 

In giving the sizes of the posts of chairs this work follows the rule of 
naming the largest diameter found on a chair. This method is quite likely 
to mislead, unless the reader notes the following: Various chairs are 
curiously made by a taper of the back post, so that the diameter of the 
post near the floor is considerably less than immediately below the finials. 
It is also very noticeable that the turnings are never round now, as they 
have shrunk in one diameter more than in the other. Also we should ob- 
serve that it is seldom that we find any two posts of a chair agreeing in 
size, as they were obviously turned by the eye and never with calipers. 
In the chair before us there is a sad and obtrusive falling off in the front 
posts from the size of the back posts. Further, these front posts seem to 


300 FURNITURE OF THE PILGRIM CENTURY 


have been turned while so green that they are now in an oval form. It is 
fair throughout this work to take off from one-eighth to a quarter of an 
inch from the diameters given of the posts to get at the average diameter 
of all the posts throughout their length. 

A feature of some of these chairs is a very slight rounding in of the 
posts at the bottom on the back. This rounding in is so slight, however, 
and so frequently fails to be found, that we can hardly call it a typical 
feature. 

The great chair before us was bought in Boston in 1923. 

Size: 454 inches high; 24 inches and 184 inches in the outside width, 
front and back, at the seat, with a depth of 163 inches. 

The largest diameter of the post is 24 inches. 

No. 307. A Brewster chair. This specimen was found with the feet 
cut off, a loss which included the lower set of rungs. The wood is maple. 

The back is especially good and is all original as are all the other parts 
of the chair except as above stated. It was bought in Boston in 1922. 

Size: 434 inches high, 264 inches wide in front, 164 inches behind. 
The largest diameter of the post is 2% inches. A peculiar difference in 
the turning is here observed in the front post above the seat. One observes 
an extreme distance of ten inches difference in the width of the outside 
measurements on the front and back. It is such elements as these that 
give a chair its individuality. 

No. 308. This is the first example which we have had of a Pilgrim 
slat back chair. Doubtless the very earliest of these had only two “ backs,” 
which was later increased to three, and finally to four in the rarer ex- 
amples. One also sees a slat very much wider than is usually found. 
The similarity between the turnings of this chair and that of No. 358 lead 
to the conclusion that they were made to go together. The chair was 
bought in New Bedford in 1922, in a bad condition as regards the feet, 
a number of inches being missing including the lower rungs. A part of 
one of the slats is also renewed. The chair, however, is so appealing and 
so unusual and so quaint that it merits our careful attention. It is of maple. 

Nos. 309-311. These three child’s chairs are shown here for con- 
venience. It is not probable that any of them run back into the seventeenth 
century though that date is always possible in such a quaint little example 
as that on the left. This chair has the rare and interesting slanted arm 
spindle, and it also possesses its front balls intact. 

No. 312. This fine Carver with unusual and excellent turnings, and 
somewhat massive in form, isin ash. It shows on the left post a flatten- 
ing caused by being drawn along the floor, probably by children in play. 
The same feature appears quite generally in children’s chairs, though it is 


cheese hy te tri 


deeMbititt VPP AS OCUAAS DASA SAYLI SALA | 





328. Carver Sipe Cuair. 1650-60. 





329. Dousite Enpep Forx anp SHoveEL. 


—— 


eee | 


i | ag 


é 


330. 


+ Hewes: 


" 


2 





Heavy Sipe Carver. 1660-70. 





331-333. Spoons AND A Birp TRAMMEL. 


Sheet pag ametet meee sean recep pe pRegtier mocact tere erat 


Peer rere 


serpent 


ie 





334- 


335-340. 


Bapy Carver Cuarr. 1680-90. 


TrivET anD LiGHTING FIxTuREs. 












341. Opp Carver Variant. 1660-80. 





342-344. Hearr aNpD OTHER ANDIRONS. 


FURNITURE OF THE PILGRIM CENTURY 305 


somewhat mysterious in a great chair like this. The splitting away of 
slivers from the post on the left at the top bears out our statement that 
ash was a very unsuitable material for turnings. The same but more 
serious loss is found on the finial on that side. 

There appears here the splint seat. It is contended in Connecticut 
that a seat in this form is as old as the rush seat, but we can hardly accept 
that contention. The rushes were ready to the hand of the settlers, and 
from the counties in England, like the Low Countries, whence a good many 
of our settlers came, the rushes were available and their use understood. 
The splint seat is not so durable nor so easy as the rush. Further, it was 
more likely to wear out the master’s unmentionables and cause extra work 
for the housewife. The use of the rush seat is undoubtedly early. 

We would point out the absurdity of claiming for an old chair that it 
has its original seat, as is frequently done. It may have its fourth or even 
seventh seat, and yet the seat may appear to be very old. Though a good 
rush seat may last the chair for possibly a hundred years, it is not at all 
probable that they had an average life of more than fifty years. Certainly, 
it is wholly impossible to state that any seat is original. By this statement, 
so manifestly reasonable, we should like to nail this discussion once for all. 

Size: 433 inches high. The feet are slightly pieced, but well below 
the rungs. The largest diameter of a post is 13%; inches. 

No. 313. A very heavy Pilgrim slat back “lady” chair. It was 
bought in southern New Hampshire in 1921. It is the most massive of 
the side chairs that have come to our attention, hence leading us to believe 
it of very early date. The fact that it has its two sets of rungs also leads 
to the conclusion that it has not lost very much in its hight. The front 
rungs have the peculiarity that they are in a square section, like the 
stretchers of early tables. The total hight is 38 inches. The seat is 224 
by 15 inches, and is now but 13 inches high, and probably never exceeded 
14 inches. The ladies of our generation can bear us out in stating that a 
low chair is more convenient for sewing. We believe the chair to be 
maple. 

No. 314. A Carver chair of unusual design and much merit. 

Owner: Mr. George Dudley Seymour. Location: The Wadsworth 
Atheneum, Hartford. The fact that there are no turnings below the seat 
establishes the early character of the chair, which is further borne out by 
its size. By the word turning, in this connection, ornamental turning is 
always understood. 

The finials on this piece are unusual and interesting; the front balls 
are original and we believe all the other parts. 

A particular feature to which attention should be drawn is the fact 


306 FURNITURE OF THE PILGRIM CENTURY 


that though this chair slants back, the rungs are parallel with the floor, 
which is a proof that the chair was built on a slant, to secure greater 
comfort. Nor is this an unique instance of the kind, though the emphasis 
here is somewhat more marked. A chair with a rush seat and a slightly 
slanting back is as comfortable as any modern chair. We make this 
statement because the general impression prevails, even on the part of 
writers on this subject, that antique furniture was uncomfortable. 

No. 315. A good example of a light Carver chair, having a richly 
and handsomely turned arm rail. The very goodness of this turning is 
a suggestion of its slightly later date than the heavy examples. 

No. 316. A light Carver chair with a seat of wood which is formed 
like a panel with thinned edges, set into slots cut to receive them in the 
seat rail. This is not unique. 

The maker evidently got his proportions a little astray, when he 
spaced his spindles, and ran his back posts so far above the top rail. 

No. 317. A pair of Pilgrim side chairs with slat backs. There is 
nothing extraordinary nor extremely unusual about these chairs except 
that they are heavier than the chair so common about 1750. They 
probably belong, therefore, in the Pilgrim Century. 

No. 318. A great slat back chair. 

Owner: Mr. Dwight Blaney. 

There are several distinctive features here of much interest. The 
chair is the first example of an intermediate stretcher between the arm 
rail and the seat. This stretcher, wherever found, is rather handsomely 
turned, and its principal use is to stiffen the chair. 

The arm rails are in a flat section, as were also those of No. 305. 
Four slats are a feature we have not had hitherto. These slats, especially 
that at the top, are winged. There is more elaborate turning than usual 
in the front rungs. The chair is stately and large, but the turnings, which _ 
foreshadow the New England slat back, so called, indicate a date suc- 
ceeding that of the usual Pilgrim slat back. The finials here are very 
boldly and handsomely turned and are to be compared with those on 
No. 324. ; 

No. 319. In this chair we have another and attractive variant of the 
Brewster chair. The turnings of the long back rails are so unusual that 
the question arises whether the chair is American. The wood, however, 
is ash, though sold as oak. While ash construction does not compel our 
belief in an American origin, it favors that belief. The chair is also 
remarkable in that many of the reduced ends or dowels of the rungs ex- 
tend through the posts and are finished as small rounded knobs. There 
is shown a more elaborate chair with this peculiarity in Lockwood. The 


si mine Nit EEN i: AN i 


ate a saan 


are setae 
1 ice it 





345. Pair oF Carver Sipe Cuairs. 1660-80. 





346-350. Fireptace UTeEnsixs. 


a 


351. 


353- 


Pitcrim Suat Back. 





Pincrim Siar Back. 


352. 





Winc Rai BanisTER. 





354. TRANsITION CuHairR. 


Banister Hico Cuair, 


356 





r , ipa erence 


SpinpLE Hicu Cuarr. 


355- 





Feces 


BS SUL ASC aA RAN wal mat a ook OO Se Sea nak a ea ‘ oes) 





1700. 


SmaLL MusHroom CHAIR. 


357: 


FURNITURE OF THE PILGRIM CENTURY cee 


-long spindles in our chair, under the seat, suggest the Cotton Mather chair, 
No. 303. The long back spindles are Iz inches in diameter. The largest 
diameter of a post is 2y%sinches. There is an interesting peculiarity in the 
seat which engages in a slot in the back and front rung of the seat frame, 
and has no side supports. The chair has lost the tips of its finials and an 
inch or so at the bottom. It always had a marked rake backwards. An 
interesting proof of the necessity of a cushion is the rounded ridge of the 
front rung rising above the seat; so that to use it without a cushion would 
be torture. This is the only chair which has attained to the dignity of an 
academic degree, being marked with the initials A.M.! 

No. 320. A high Carver chair. 

Origin: Western Massachusetts. 

Every part of this chair is original with the exception of one rung. 
The seaman’s phrase “shiver my timbers” is very appropriate here, as 
the construction of loose grained ash, in the rungs, has allowed them to 
come to pieces, almost like bundles of small sticks. The other parts of 
the chair, being maple, have been very well preserved, the condition, 
particularly of the original balls and finials, being the best that we have 
seen. The latter are extremely unusual and interesting. 

Size: 483 inches high, the highest Carver measurement we have met. 
The front is 25 inches across and the back 194 inches, both being outside 
measurements. The depth is also extreme, being 19 inches, as against 
the usual depth of about 16 inches. The largest diameter of a post is 27% 
inches. 

No. 321. A light and unusual Carver in respect to its finials. It is 
all original with the exception of the balls in front. 

No. 322. A light Carver, the finials of which, as in the last example, 
show a somewhat later date. Every part is original. 

No. 323. A heavy Pilgrim three back chair. We have here the 
wooden seat set in like those on two or three previous examples. Of 
course, the feet are not right, and we believe that something is lost behind 
on the finials. We would not, however, by any means, minimize the 
importance of this very large and early chair. It is fair to state that not 
everyone agrees with the writer in relation to the finials. 

Owner: Mr. John C. Spring of Boston. 

No. 324. A heavy and very satisfactory example of the three back 
Pilgrim chair. It is in the old red paint as found. It was bought in Boston 
in 1922. The finials are fine and all parts are original. It will be ob- 
served that the scale on which objects in this book are shown is regulated 
in part by the exigencies of arrangement, and has no necessary reference 
to the importance of the objects. 

Size: 434 inches high. The diameter of the posts is 24 inches. We 


312 FURNITURE OF THE PILGRIM CENTURY 


shall, after this example, not trouble to give all dimensions, since those 
already given are sufficient to afford abundant data for comparison. 

No. 325. A Carver chair of medium weight. It was bought on the 
South Shore in 1922. It was found in black paint, as now, with the excep- 
tion of the restoration of the balls in front. 

Nos. 326-327. A wrought iron kettle in a tripod, and a trivet. Or- 
dinarily kettles are cast, especially in New England. In Pennsylvania it 
is not rare to find them wrought. The setting of a kettle in a kind of 
tripod with ears is an arrangement which naturally suggests itself on a 
wrought piece. Otherwise the legs would be riveted to the kettle. 

The trivet has a top in pierced work. It was purchased on the North 
Shore, but we do not know the country of its origin. 

Both pieces belong to Mr. H. W. Erving. . 

No. 328. This interesting example of a side chair in the Carver style 
derives additional merit from the excellence of its finials. We think that 
if the reader will compare this chair carefully with No. 306 he will be 
convinced as we are that this is a “lady ” chair made to accompany No. 
306. This conclusion is arrived at through the finials and especially 
through the top rail. While this rail is somewhat simpler than that on 
No. 306 it has elements precisely like it, and it was the regular practice 
to simplify somewhat the turnings on the side chairs. With the exception 
of piecing at the bottom this chair is original. It is the solitary instance 
that we know of a single set of rungs. The set-in places are so low that 
they could not possibly have a duplicate set below them, and that con- 
clusion is borne out by the location of the rear rung, which is always near 
the bottom. We believe that in restoring this chair we have added too 
much to the length of the leg and that we should have left it about 
fifteen inches high in the seat. Thus, the rungs would appear to be nearer 
the floor, as in many “ lady ” chairs. 

No. 329. A curious little handle of twisted iron having a perforated 
miniature shovel at one end and a fork at the other end. We can sympa- 
thize with, and probably suspect the motive of the maker who is always 
misplacing either the shovel or the fork. A hand once grasping this 
handle would have both implements of culinary warfare “at hand.” This 
piece is an amusing example of Pennsylvanian ingenuity. It was intended 
as a flapjack shovel and meat fork, and is only a few inches in length. 
It is at an ancient inn south of Bethlehem. 

No. 330. A heavy and unusual Carver side chair. One would at first 
suppose that something was gone from the finial, but we have no doubt 
that in some instances the side chairs were made with plain balls at the 


358. Heavy Musuroom Cuair. 





1680-90. 


| RNNMRCERNRENRmREN esse | mse HIMES, 


& 


(AS Sy Say aR reece carter mec es omens ot Dt om tas ys 


4] 
: TE Gees item cS is 





360. MusHroom Cuair. 








361-363. ToasrerR, CrRusHER AND WoopEeN HincEs. 





+ a ane tna aa Sta Aha SCM iS Ad Ai cM ald ata Nd als 





1700. 


Great Musuroom Cuarr. 


364. 





365. MusHroom Cuair, 





367-368. Mr. B. A. BeHREND’s Home Room. 


FURNITURE OF THE PILGRIM CENTURY at? 


back. This example is as high as an arm chair. It has the unusual feature 
of a ball turning on the top rail. 

In side chairs, we do not, of course, look for a ball on the front post. 
‘Yet the post projects above the seat sufficiently to give a good space for 
the boring of the seat rungs. 

Formerly in the collection of Mr. B. A. Behrend. 

Nos. 331-333. We have a long handled spoon which was supposed 
to be made for the gentleman who ate with the devil. It js forty-one 
inches in length. The one shown here attains the respectable length of 
twenty-three inches, and bears a monogram. The other spoon is of a sort 
often found in Pennsylvania with a prettily hammered handle ending in 
a closed scroll hook and having a brass bowl. They were doubtless in- 
tended for stirring the pot. 

No. 334. A baby Carver chair. It has probably lost simple finials. 
It was purchased in Hartford. 

Size: 243 inches high; seat 74 inches high. It shows beautifully the 
wear on the front resulting from being dragged about a sanded floor. 

Nos. 335-340. The heart shaped waffle iron was found in Charles- 
ton, South Carolina. Its interesting handles have a hook on one side and 
a link on another. The lighting fixtures will be treated later. 

No. 341. This odd variant of a Carver has its spindles entering the 
seat rail. Of course the balls at the bottom are out of place. The seat 
is “ paneled.” 

Owner: The George F. Ives Collection. 

Nos. 342-344. he first number is a pair of andirons belonging to 
Mr. E. W. Sargent, of Providence, Rhode Island. They show one more 
of the numerous adaptations of the heart motive to wrought iron, and are 
most interesting. No. 343 shows another unusual pair of andirons with 
a shoe or flat base instead of two legs. The post runs up with a slight 
taper into a ball. No. 344 is another odd pair with the same sort of base, 
but in a flat section and rolled over at the top. 

Nos. 345-346. A pair of Carver side chairs with their small original 
ball finials. These chairs from their moderate hight, and small size, in- 
dicate that they were made for ladies. They have lost a little at the 
bottom. 

Origin: Eastern Massachusetts. 

Owner: Mr. Chauncey C. Nash. 

Nos. 347-350. Utensils for the fireplace, and a Betty, or fat, lamp. 

Owner: Mr. Francis D. Brinton, Oermead Farm, West ‘Chester, 
Pennsylvania. 


318 FURNITURE OF THE PILGRIM CENTURY 


The little toaster is a charming example. Pieces like this were used 
in England very much, and in the Colonies also. 

No. 348 is a rare and perhaps unique piece. Instead of the kettle 
there should be on it a very long handled spider. Thus the trivet, which 
was set over the flame, provided a rest for the handle at two different 
elevations. We regard this piece very highly for its quaintness and we 
have learned that Mr. Brinton clings to it. 

No. 349 1s a little charcoal stove. We have seen a considerable num- 
ber of these, having their posts turned down and flattened to afford a rest 
for a cooking vessel. The handle is of wood. The grill top hinges and 
is lifted by the central thumb piece. 

No. 351. A Pilgrim slat back with good finials. In the former col- 
lection of the author. 

No. 352. A wing rail banister back. 

Owner: Mr. L. G. Myers. 

The fine bulb-like turning is here to be commended. In a banister 
back chair we really have spindles which are split, something like the 
applied split spindles with which chests, chests of drawers, and court 
cupboards were decorated. The object of splitting the spindle was un- 
doubtedly to secure comfort. We have already had examples of what 
we may call flat turnings in which the flattening is done on both sides. 
The banister back was really an inspiration on the part of the person who 
brought it into use. It is, however, somewhat later than a heavy turned 
chair. The first examples are probably after 1680. Such chairs continued 
to be made for about fifty years. ; 

No. 353. A Pilgrim slat back. Here for the first time we get the 
beginning of a turning resembling the New England slat back, of 1700 
and later. The arm rails are flat turnings, that is, turnings from which 
sections are cut away on two sides. 

Date: 1670-1690. 

No. 354. A Transition turned chair. The spindles are flattened but 
they are not banisters. The arms are also flattened turnings. Some parts 
of this chair are not original. 

Date: 1680-1700. 

No. 355. We arrive here at an odd example of a turned high chair. 
The balls on the feet are in part missing. It is the first example in which 
balls would be legitimate on the feet, bearing out the turnings of the front 
posts. 

Date: 1700-1720. 

Owner: The George F. Ives Collection. 

No. 356. A flat and molded banister is a feature of the back. The 


371. 


r| 


tie ee a cee ee 





CourtTinc CuHair. 





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HEGTUSES 
i MUU Te TE NUTT eT 


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Cuairs. 


372. X SrReTCHER CHair, 





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373. Larce MusHroom. 





374-377. Types or LANTERNs. 





378. “CromweELuiaN ” CuHarr. 379. “ CRoMWELLIAN” CHaiR, 





380-383. Four Bromers. 18th Century. 


384. 


Sent 





LEATHER Back. 





— 


385. Carvep LeaTHER Back. 


ny 


386-388. Toasrer AND TRIVETSs. 


FURNITURE OF THE PILGRIM CENTURY 323 


scrolled upper rail has a pierced heart. There is an intermediate spindle 
between the arm and the seat. 


Date: 1700-1720. 

Owner: Mr. George Dudley Seymour. 

The term describing the molding of the banisters is “reeded.” The 
cresting or top rail is in part missing. It probably had what is called the 
crown motive, which, usually, is found superimposed over the heart. The 
material is maple, and the chair was never painted or restored. It has 
lost something from the feet. It was given to Elizabeth Davidson of 
Milford by her father. She married Abner Perry in 1795, and the chair 
has been held by their descendants until the owner bought it in 1921. 

No. 357. This is the first example we have shown of the chair which 
has its front post mushroomed. Such chairs are usually called simply 
mushroom chairs. The turning of this broad hand rest was always done 
from the solid post, in one piece with the rest of the post. The chair in 
date is the same as the banister back, and some of these chairs appear in 
that form and others in the slat back as here. This chair is interestingly 
small, and it is possible that it was made for a lady. If so, it is the first 
instance in this book in which an arm chair could be assigned to feminine 
use. The piece is somewhat speckled as shown here, owing to the partial 
wearing away of a coat of light paint. 

Owner: Mrs. W. B. Long of Boston. 

No. 358. This chair is nearly identical with one shown in Lyon. We 
may presume that one was copied from the other, as the slight difference 
may suggest a second maker. The interesting scroll of the slats is to be 
observed. The mushrooms here are of the onion shape rather than flat, 
in the somewhat later styles. The slant of the arm rail is frequently found 
in mushroom chairs. The piece is of much importance and interest. We 
have discovered the third chair which was originally a precise counterpart 
of this one, before it was mutilated. 

Owner: Mrs. J. Insley Blair. 

Size: 43% inches high, 23 inches wide, 16 inches deep. Seat, 153 
inches high. 

No. 359. A mushroom chair with a featured, figured or scrolled top 
and bottom rail, and a well turned arm rail. 

Date: 1700-1710. 

No. 360. A mushroom chair with slanting arm rail and slat back. 
Comparing the finial of this chair with the one last described it appears 
that that finial belongs to the eighteenth century, and this finial belongs 
to the latter part of the seventeenth century and is better. 

Date: 1680-1700. 


324. FURNITURE OF THE PILGRIM CENTURY 


Nos. 361-363. At the bottom we have a remarkable pair of oak 
hinges, in which the strap of the hinge was in the form of a great cleat 
running across a door, and the hinge portion proper was formed by an oak 
pin run through a shovel-like piece, which in turn terminated in a dowel, 
that ran through the jamb post, and was fastened on the opposite side by 
a pin. These remarkable hinges were presented to the author by Mr. 
Chetwood Smith of Worcester, who also loaned, for securing a picture, 
the quaint toaster at the top on the left. The cutter, on a post attached 
to a base board, molded, was used to break up the large pieces of loaf 
sugar, into smaller sections, which could then be pulverized with the toddy 
stick. 

No. 364. A giant mushroom chair. Whether this chair was con- 
structed for the fat man of his county we cannot now say. The hugeness 
of its dimensions would force some such conclusion. The mushrooms are 
about four and a half inches in their larger diameter, and the posts have 
shrunk in such a manner as to show the mushrooms in an oval form. The 
top slat is 53 inches wide, each slat below diminishing a quarter of an inch. 
The width over all to the outside of the mushrooms is 323 inches. The 
back posts are 464 inches, and the front posts 304 inches high. The out- 
side of the seat is 30 inches in front and 24 inches in the back, and its depth 
is 22 inches. 

All parts of this chair are original. 

No. 365. A mushroom four slat back chair, with. sloping arm rails, 
and the first example we have had of the so-called sausage turned front 
stretchers. 

No. 366. A mushroom chair with handsomely and boldly scrolled 
slats. It will be seen that though the mushrooms themselves required a 
large stick of lumber to turn the legs, the diameter of the main portion 
of the leg was small, in order to give lightness to the chair, following the 
trend of taste with the beginning of the eighteenth century. The dates 
of this and the previous chair are around 1700. 

Nos. 367-368. A picture of the home room of Mr. B. A. Behrend, 
in Brookline. In the foreground there is a butterfly table, a subject to be 
discussed later, and in the background will be seen a miniature stick leg 
chair, like a stool, more properly like a milking stool with a back, since 
there are but three legs. The other articles here shown are elsewhere 
discussed. 

Nos. 369-370. The little chair is peculiar in having mushrooms, the 
only example of a baby chair of that sort that we have seen. 

The large chair deserves a considerable degree of attention, since it 
seems to be a cross between a Pilgrim slat back, a Brewster chair, and a 





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1680-1700. 


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1690-1720. 


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396-397. OrtcinaL Rocxer ann Hicu Desk Cuatr. 


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398-399. Rusu Sroot anv JoineD Sroo.. 


FURNITURE OF THE PILGRIM CENTURY 329 


mushroom chair, having many of the important elements of all these three 
designs. The shape of the mushrooms is similar to that in an important 
turned chair owned by the architect Mr. Joseph Chandler, and now or 
formerly on exhibition at the Boston Fine Arts Museum. This mushroom 
post would seem to indicate the transition between the Pilgrim chair and 
the mushroom post. This chair was found in Middleboro. It lacked 
about two inches of its original height. It is shown here as found, but the 
feet have now been spliced. We must date the chair in the latter part 
of the seventeenth century. 

No. 371. We may call this a courting chair, owing to its having backs 
on two sides. It is a corner chair, really, with backs meeting at right 
angles. 

Owner: Mr. Arthur W. Wellington. 

Date: 1700-1710. 

No. 372. A corner chair. The peculiarity of this piece is that it 
has an X stretcher. 

Owner: Mr. L. G. Myers. 

Date: 1700~1720. 

No. 373. A large chair of the mushroom type. Aside from the 
giant mushroom previously shown this is one of the most striking examples. 
One sees, however, a falling off in the style of the finials, they being rather 
slight and lacking dignity in comparison with earlier examples. 

Nos. 374-377. A series of lanterns belonging to Mr. Rudolph P. 
Pauly. The lantern on the left, called after Paul Revere, could certainly 
not have been seen across a river. The second piece is a bottomless affair 
to place over a candle to prevent the wind from blowing it out. It is 
pierced with oddly shaped holes. The other two lanterns are of a good 
early type. It is hardly worth while attempting to date such pieces as 
they are used in this form for a hundred and fifty years. 

No. 378. Simple chairs, with ball turnings, and with square stretch- 
ers, on the side and back, and with low backs for upholstery, have 
acquired, the name Cromwellian. It has been a favorite theory of his- 
torical critics that during the Puritan period in England there was a lull 
in artistic expression. The destruction of many beautiful features in 
cathedrals fosters this view. It is probable also that the minds of men 
were so much engaged in the civil conflict that they had little time for 
artistic expression. We know that the Protector had some very beautiful 
furniture. However that may be, this chair dates about 1650-1670. 

No. 379. Another Cromwellian chair, somewhat simpler. These 
chairs are covered with various materials. It would be a great mistake 
to presume that leather, the simplest and most satisfactory and most 


330 FURNITURE OF THE PILGRIM CENTURY 


durable material, was by any means generally used. Silks, brocades, and 
petit point were often employed. Of course, the covering on the chairs 
here shown, especially that on the right, is late and bad. 

Nos. 380-383. These four broilers show various good types. The 
first is perfectly plain in its bars, the second has its bars serpentined and 
the last has serpentine bars between straight bars. The third was a very 
beautiful piece of iron work, but many of the features have been de- 
stroyed by rust. It is apparent that there was a double scroll reaching from 
each of the four arms of the circle. The hook handle is spiraled. It 
is the property of Miss S. B. Eastman of Harvard. 

These broilers could be revolved in order to secure even cooking. 

No. 384. A class of chairs which we may call leather-backs is very 
satisfactory, because while their general outlines are in good style, there 
is a simplicity and homelikeness about them which appeals. Here the 
leather, instead of going crosswise in the back, as in the Cromwellian 
chairs, runs lengthwise, and the chair is a modification of the banister 
back, or the more elaborate cane back, both of which styles have the same 
general outline. 

The construction of chairs in these three types is not to be com- 
mended. ‘There is a rather quick curve on the outside of the back posts 
at the level of the seat. This curve becomes really an angle on the 
inside, sometimes even on the outside. It is often so sharp that it 
destroys the strength of the back. Many chairs of this period are broken 
at this point. That is no doubt the reason why they are now found in 
such small numbers. The abandonment of double lines of stretchers 
for a single set is also an element of weakness, and most of the chairs that 
have been preserved are shaky. Of course, the thought of the builder 
was to procure greater comfort by slanting the back. 

These chairs in the simple styles are characterized by vase, ball or 
ring turning, or a combination of these elements, with portions of the 
legs and the back left square. The finials are like turban heads and 
represent a decline. ‘The front stretcher, in the plainer sort, is poe 
a large and rather prominent turning. 

Date: 1670-1690. 

The wood is maple. 

No. 385. A carved leather-back. In this chair we have a pleasing 
arrangement by which a curved rabbet or depression is cut away in the 
top and bottom rail deep enough to receive the leather, and to leave the 
leather back, when finished, flush with the rail. This seems a more 
tasteful and finished arrangement than that shown in No. 384 where the 
top and bottom rails are frankly used like the stretchers of a picture 





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400-401. New Encianp Suat-3ack. 


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1700-1720. 


403. 





Earty GripDLe. 


406. 


404-405. New Encianp SLAT-Back. 





Rotter Cuair. 407. 


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1700-1720. 





Dutcu Carvep Back. 





408-409. New Encrianp Siat-Bacxs. 1690-1710. 





410-414. Bromter, Gritt, Toasrers, ETC. 


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415-416. 


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SERPENTINE SLAT Rockers. 


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1710-40. 





CuiLp’s Wine Cuair. 


ill 


FURNITURE OF THE PILGRIM CENTURY 335 


frame. We have here also a scrolled stretcher below, corresponding with 
its main outlines to the top rail. 

Date: 1680-1700. 

Nos. 386-388. A toaster here shown is a Pennsylvanian type with 
many twisted members. It must have been used for a huge slice of 
bread. Instead of the usual base and swivel arrangement it rests on 
prolonged leg-like members as seen. The trivets were interesting little 
pieces used to place over the coals for the quick heating of a small vessel. 

No. 389. A leather-back chair with an attractively carved top rail. 
It is a curious fact that carving on chairs of this type sometimes called 
in England after Charles II, is done much better, in most cases, than the 
carving on cabinet furniture. The chair carving is often in the round, 
at least in relief on various levels. Another characteristic of this type 
is the high stretcher below. The evident design was to give room to 
draw the feet back. 

The wood of these chairs, as found in America, is perhaps oftener 
maple than anything else. We do find, however, not a few fruit wood 
chairs. This term is used generally to include the pear and apple and 
possibly sometimes cherry, though the latter is generally named when 
used. Pearwood is admirably adapted for good carving. We do not see 
oak used in American carved chairs. We are now approaching the walnut 
period. Some of the fine examples are in that wood, but it is rare, 
and is not so suitable. In England we often find beech used. 

In relation to maple in English pieces there is some misapprehension. 
Maple is not a rare wood in England. One may be surprised on referring 
to a certain American dictionary to find under a definition, a quotation 
from a dramatist, referring to a maple dresser. The author was Eng- 
lish and the period was that of these chairs. 

When leather and sometimes finer materials were used the arrange- 
ment of the brass headed tacks was often in an ornamental pattern, or 
at least was in double rows as here. 

In the quest for old furniture it is highly important to notice whether 
the feet are missing. In the last two examples they are shown as they 
should appear. Even here something has been worn off, as feet 
originally, in this style, finished in a turning and sometimes in a little 
shoe below that. It is considered if chairs are worn no more than these 
are that their importance as antiques is not interfered with. If, however, 
the wear is below the largest part of the bulb, the chair is much less 
desirable. The loss of finials is a still more serious matter, and the loss 
of both finials and feet renders the chair practically valueless. 

It is not considered good style to upholster seats, so that the tops 


336 FURNITURE OF THE PILGRIM CENTURY 


show a marked curve. They are best when rather flat, as in the two 
examples now being noted. The backs were usually not padded, and 
never should be heavily padded. Sometimes the leather was doubled 
in the back. 

No. 390. A Pennsylvania high chair. The arch of the slats is not 
fully carried out. This is our first example of the Pennsylvania chair, 
a large class, now much sought. 

Daté: 41'720—1750. 

Owner: Mr. Chauncey C. Nash. 

No. 391. ‘An amusingly sharp rake in the legs of this chair gives it 
a quaint appearance. Of course, the purpose was to acquire stability. 
Various other names that indicate this rake are flaring base, splayed base, 
slant base, straddle, etc. 

No. 392. This stool should not be called a joint stool because it 
is merely doweled together. Such stools, with the rush seat, are rare. 
With No. 393, a round back baby chair, it belongs to the George F. 
Ives Collection. 

Date: 1700-1730. 

No. 394. A low back heart-and-crown chair. The motive in the 
back is well known. ‘This, however, is the only instance in which we 
have seen it in a low back chair. The ball turned intermediate bracing 
rung, or stretcher, between the arm and the seat adds much to the effect. 
We have here for the first time the rolled arm, a phrase used in describ- 
ing the contour of the arm in front of the post. 

In the former collection of the author. 

No. 395. A dainty gift ladle. Among the fine craftsmen in iron 
in Pennsylvania it was often the custom for a beau to give his sweetheart 
a daintily wrought utensil in which the heart motive appeared. Such 
utensils were often hung in the fireplace, more as ceremonial gifts than 
for ordinary use. Nevertheless we may suppose that on important 
occasions they were used. This piece is the daintiest bit of its kind 
that we have seen. The little bowl is of hammered copper. It 1s 
only 2% inches in diameter. On the back, the handle is divided by weld- 
ing into a cross shape on the bowl so as to secure strength, and it is riveted 
in three places. The whole affair is about 154 inches long, and weighs 
but a few ounces. It was found near Easton in 1923. 

No. 396. The chair here shown is supposed to be an original rocker. 
This inference is drawn from the shape of the turning at the bottom 
of the leg. There is here a bold enlargement to secure strength and 
room for the slot in which the rocker rests. Early rockers are always 
secured with wooden pins, never with nails. Several of these chairs have 


419. 


Five Back Pennsytvania Cuair. 





1720-50. 





A Six Bacx. 1720-50. 


421. 


Lamp TRAMMEL. 


420. 








Sah AS a a i bs 


ppiaiians tien tee eas ie aT 





1720-50. 


PENNSYLVANIA CHAIRS 


422-423. 





Buru Pieces, 


424-425. 





426. ArcHED Back. 


a 


TERRE 


428. Five Back. 


427. DousLe Jenny. 





429. Six Back, QuEEN ANNE, 


FURNITURE OF THE PILGRIM CENTURY 341 


been found, and they are supposed to date from about the end of the 
seventeenth century, but we fear that the date is at least some forty 
years later. We have had a report of a chair of this sort made without 
rockers. What, however, the enlarged bottom of the foot was designed 
for, other than rockers, we cannot surmise. 

No. 397. A lightly turned high desk chair. There are no less than 
four sets of rungs, including those in the seat, in this chair. 

Date: 1710-1740. 

No. 398. A turned rush stool. Owner: Mr. Horatio H. Arm- 
strong. Date: 1690-1710. This is an appealing little example, one 
other being known to the writer. The rungs turned in this decorative 
form, and well worn, impart a human impression that is very pleasing. 

No. 399. The first example of a true joint stool. The word 
“ joint ” in this connection is used to distinguish furniture so made from 
that which was united by bored holes and dowels. The joint means 
invariably a true mortise and tenon. In other words joined furniture 
was made by a cabinet maker, whereas turned furniture could be put 
together by inferior workmen. Joint stools, as found in America, must 
be closely scanned, as they are likely to be English importations, and of 
oak. The American examples are seldom if ever of oak. The top is 
pinned on like a table top, is usually a good deal less than an inch in 
thickness, and has the thumb nail mold. The overhang at the ends is 
_ always considerable. The material of the top may be pine or maple. 
The hight varies from twenty to twenty-two inches according to the 
condition of the stile at the foot. There is usually a rake of the legs 
in one direction. 

Date: 1670-1690. 

_ Nos. 400-401. In these chairs we have what is now named the New 
England slat back. It is a modification of the heavier turned chairs of 
the earlier period. In that period the number of slats was sometimes 
two and sometimes three, and the number was not an important matter. 
In fact the fewer the slats the earlier the piece was supposed to be, other 
things being equal. When, however, we reach the date here given we 
must, for good style, never have less than four slats. Five slats are 
counted much more desirable, because they are more rare and supposedly 
more attractive. We have known of one or two of these chairs with 
six slats. In this type there is uniformly a turning between every set 
of horizontal members, and the posts are all turned throughout rather 
than having portions left square as in the style last treated. 

Owner: Mr. George Dudley Seymour. 

Date: 1710-1740. They are from the Captain Gibives Churchill 


34.2 FURNITURE OF THE PILGRIM CENTURY 


House, Newington, Connecticut, and are now in the Wadsworth 
Atheneum, Hartford. 

No. 402. A fascinating bit of iron for boiling potatoes. It must 
have been a long tedious task to construct it. 

Owner: Mr. H. W. Erving. 

No. 403. A heavy cast griddle with short cast handle. These pieces 
are found in Pennsylvania and are appealing, at least to us. We do not 
know when they ceased to be made, but it would not surprise us to know 
that they continued up to the nineteenth century. 

No. 404. A five back New England, sausage turned, rolled arm 
chair. A very good example with a seat of extraordinary width. 

No. 405. A New England four back chair with scrolled slats. The 
date on No. 404 is about 1700-1720 and on No. 405 perhaps ten years 
later. 

No. 406. A slat back chair, curious in respect to the feet, behind, 
which was apparently designed for rollers or wooden casters. The prob- 
- able purpose was ease in moving the chair. 

Owner: Mr. B. A. Behrend. 

No. 407. A turned chair with panel seat and with a cherub carving 
in the back, above which there is a scroll with turned button decorations. 
The name is cut on the lower part of the back rail. These chairs are 
unusual, 

Owner: Mr. Edward C. Wheeler, Jr. The date is difficult to fix, 
but it was probably an eighteenth century piece. 

Nos. 408-409. Two very high backed New England chairs in the 
author’s former collection. The left hand example is very perfect in 
style, the finial being better than that in the right hand example. The 
latter, however, in the odd spacing of its slats, and in its triple sets of 
rungs, is a solid and attractive piece. These chairs came in about 1700 
and were popular in the higher types, for about twenty years. 

Nos. 410-414. On the left is a wrought pot hook with double 
scrolls. The broiler beside it has an excellently shaped goose neck, and 
the toaster following it is very prettily scrolled, and has twisted guards 
for the bread. The next two pieces at the right are fine examples from 
Mr. L. P. Goulding’s Collection. The round one is the largest we have 
ever seen. ‘The other one is scrolled in both planes on the handle, and 
has the hollowed bars and trough with spout for collecting the gravy. 

Nos. 415-416. Two excellent examples of the serpentine back arm 
chairs, which were perhaps always rockers. That on the left is in the 
estate of J. Milton Coburn, M.D. That on the right is owned by Mr. 
G. Winthrop Brown. A considerable number of these chairs has been 





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1680-1700. 


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436-437. A Fremisu Scroty anp A Transition CHarr. 





438. Wroucutr Girr Forx. 18th Century. 


FURNITURE OF THE PILGRIM CENTURY 34.7 


found but usually with straight slats. It will be seen that the arm is 
braced by running to the rung, below the seat rail, and pinning it to the 
rail. The date may be 1730-1750. 

Another characteristic feature of these chairs is that they have short 
arms not extending to the front posts. 

No. 417. A very excellent baby chair in which the free rail usually 
appearing above the spindle rail is reversed and placed below it, thus 
making it a Carver variant. 

Owner: Mr. B. A. Behrend. 

The date is about 1680-1700. 

No. 418. A handsomely designed child’s wing chair. It belongs 
to Mr. T. T. Wetmore of Old Saybrook, Connecticut. It is thirty 
inches high, and has a new seat. 

The rake of the sides, the scrolling of the skirt and the piercing of 
the top in diamonds and hearts are all features which give the chair a 
great deal of character and attraction. It is almost impossible to date 
furniture for children. We would only suggest the eighteenth century. 

No. 419. A very good example of the Pennsylvania arch slat back 
chair, to show the characteristic features. The slats are shaped both 
below and above. The arms are cut away by square incisions and there 
is left a thin section between the front and the back posts. This is an 
almost unvarying rule. Also the front spindle is always in decorative 
turning. Almost always the feet of these chairs have been cut off. The 
good types should have enlarged balls of a greater diameter than the 
post above, a kind of reversed mushroom. In the author’s former 
collection. 

No. 420. A trammel of wood designed to serve as a hanger for a 
Betty lamp. We have seen several of these; also we find that they are 
being largely copied, as they are proving catchy acquisitions. They were 
hooked from the ceiling, so as to furnish a reading light or a loom light. 

No. 421. The rare and much sought six back chair. 

Owner: Mr. Francis D. Brinton. The feet have been pieced as in 
all examples except one which we have seen, and there should be larger 
balls here. The front stretcher is very fine. 

Nos. 422-423. The owner of both pieces is Mr. Francis D. Brin- 
ton. The left hand piece is remarkable like No. 428 in having hand- 
somely cusped slats. The right hand piece is a natural complement to 
No. 421, with its six arched slats. 

It will be noted that in No. 422, as in most of the cane chairs, there 
is an irregularly squared section of wood on the top of the front post 


348 FURNITURE OF THE PILGRIM CENTURY 


which receives the seat rails. We may regard this as a refinement over 
the plain posts as seen on No. 423. 

Nos. 424-425. A bowl of burl and a ladle of the same material. 
These will be discussed later. 

No. 426. A Pennsylvania five back with a somewhat massive effect. 
The rockers are never original. This piece has very satisfactory lines 
and massive stretcher. In the author’s former collection. 

Date: 1700-1730. 

No. 427. A double spinning jenny. It is so arranged that two 
threads could be spun at once. ‘The thread entered in a little hole at the 
center of the spindle. The distaff could be swung to a convenient dis- 
tance. It is shown with its flax attached. Found in Connecticut. As 
to the date of spinning jennies, they were used in the seventeenth and 
eighteenth centuries. 

No. 428. A five back, chair, probably one of a set like No. 422, but 
with arms quite different from the conventional Pennsylvania type. 

Owner: Mr. Francis D. Brinton. 

Date: 1700-1720. 

No. 429. A six back chair with cabriole legs in front. We show 
this piece with some hesitation as we seek to confine this book to the 
turned period. Nevertheless, the chair is so rare and good, having its 
original feet, that we cannot resist it. The ball and ring stretcher and 
the cabriole leg mark the Queen Anne period. The scrolled board nailed 
about the rush seat imparts a pleasing finish which indicates a date later 
than those chairs we have hitherto illustrated. 

Origin: A Pennsylvania farmhouse, where it had always been and 
where it was found by the 

Owner: Mr. J. Stodgell Stokes. 

No. 430. In this chair we arrive at the fully developed carved 
scrolled cane chair. 

Owner: Mr. H. W. Erving. 

When these pieces are good, with the fully developed scroll, that is 
to say the double Flemish scroll as seen here on the arm and on the leg, 
they are rich and ornate. A common style mark is the medial stretcher, 
whence probably the Windsor chair derived its style. On account of the 
location of this stretcher we find here that the back stretcher is moved 
to a higher point on the legs behind. It will be observed that in the 
perfect type, the heavy scrolled front stretcher matches the lighter top 
rail behind, as here. These scrolls are either single or double and are 
often worked out like foliage forms. The back rail behind, while in 
the double scroll here, is simpler, as is the practise, than the other mem- 


24000884. 
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439-440. Parr FremisH Scrottep Cuairs. 1680-1700. 





441-442. EncuiisH ScroLLtEpD Cuairs. 1680-1700. 





443. 


Heart Motir TorMENTOR, 


FURNITURE OF THE PILGRIM CENTURY 351 


bers. In the best types we have the side members forming the back 
panel, carved as here. The setting of the top rail between the posts is 
regarded as an older and better design than the setting of it over the 
tops of the posts. The feet are seen to have protuberances in front in 
the form of cushions, apparently to take the wear from the scrolled legs. 

Owner: Mr. H. W. Erving. 

These chairs are a far cry from the simplicity of the turned chair. 
They were never very common in America. They were nevertheless used 
_ to no small extent for the parlors in the finer homes. The caning of 
these chairs is of the finest character. 

Many of the specimens are painted black. The present taste is in 
favor of natural wood, but we consider that where black seemed so fre- 
quent we should not discriminate against it. 

No. 431. A very oddly turned chair. The supposition is that it 
was country made. The rungs are left square at the ends to give a solid 
shoulder for a mortise. Yet for the main portion of their length they 
are turned. We have seen one other chair of this kind. The probable 
object was to secure greater solidity. We do not count it important but 
rather curious. The date is uncertain, perhaps before 1750. 

No. 432. A four back chair with sausage turnings and a neatly 
turned reinforcing rail below the arm. It has the flat arm, doweled, rather 
than tenoned. 

Date: 1700-1720. 

No. 433. A turned slat back of complete and harmonious design. 
The finials here are better than most of this class, being perfectly satis- 
factory from the esthetic and historical standpoints. 

Date: 1690-1710. 

No. 434. This is a good example of the chair with a braced or rein- 
forced arm. In this case the short arm has a support running through 
the seat rail and doweling into an enlarged section of the top rungs on 
the sides. 

Date: 1710-1730. 

No. 435. Owner: Mr. G. Winthrop Brown. The variation be- 
tween this chair and No. 430 is seen in the leg where there is an extra 
scroll at about the hight of the stretcher. The arm support is turned 
however, instead of using the Flemish scroll. The back has only 
two reversed scrolls. The C in the top and bottom rails is reversed in 
positions, as compared with No. 430. 

The handsome so-called ram’s horn arm of these chairs deserves care- 
ful attention. It is in a roughly squared section which is turned 
diamondwise instead of flatwise. The upper edge of this square is 


352 FURNITURE OF THE PILGRIM CENTURY 


softened. The scrolls sweep both outward and downward over the post 
with a curl quite like a close set ram’s horn. 

Nos. 436-437. These chairs are owned by Mr. Edward C. Wheeler, 
Jr. It will be seen that the front stretcher and the top rail are very 
closely alike. This chair should be compared with No. 441. While the 
backs are similar, rosettes appear dividing the scrolls in this chair. Here 
the feet curve outward and in No. 442 the curve is inward. This scroll 
is usually called Flemish, whereas the foot of No. 442 is termed English. 
The distinction is perhaps rather arbitrary. 

These chairs are of fruit wood. 

No. 437 does not carry out the scroll work in the base which we see 
in the back, but it is kept wholly to the turned motives. It will be seen 
that the arm here does not sweep outward. Further it is largely covered 
by fine carved lines. 

No. 438. An example of the wrought gift forks found in Pennsyl- 
vania. Here is the usual heart motive, but the ornamentation is unusually 
elaborate and suggests carving in wood. We might almost call such a 
piece a votive gift, to the goddess of the maker’s affections. 

Nos. 439-440. A pair of handsomely carved chairs of the second 
period. 

Owner: Mr. Edward C. Wheeler, Jr. 

The imposing of the top rail on the back posts should be noted as a 
change from those hitherto considered, in which that rail is mortised be- 
tween the posts. It is a question of taste which style one prefers. This 
style affords a little more room for freedom of design. It is, however, 
more frail. We see also a change here in the style of the caned panel of 
the back. In the examples shown it has been bordered by straight lines 
on the inside of the panel. Here we have scrolls at the top and the 
bottom. This is the natural progression of design from the more simple 
to the more complex. ‘The carved stretcher and the top rail are seen to 
agree quite closely. We have here also another modification in the 
scrolling on one face of the medial stretcher, connecting the side stretchers. 

These chairs are painted black and are in fine condition. The edges 
of the seat rails should be noted as molded, whereas in the simpler 
examples it is plain. 

Nos. 441-442. Complementary chairs with the “ English ” scrolled 
foot. 

Owner: Mr. Edward C. Wheeler, Jr. These chairs are in fruit 
wood. One should note that the arm chair, as often occurs in this style, 
has a lower seat than the side chair. We like the bold scrolls of these 
chairs. 


| 





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446. 





1680-1700 


An ENGLIsH AND A FiEmisH SCROLL. 


447-448 





449. EnouisH Scrott Cuair. 1680-1700. 


FURNITURE OF THE PILGRIM CENTURY 357 


No. 443. A heart fork formerly owned by Mr. Ralph Burnham of 
Ipswich. ‘This is the simplest form of Pennsylvania gift hardware. 

No. 444. A carved Flemish side chair with oval ended panel. 

It will be seen that while the chairs hitherto treated had stretchers which 
did not distinctly arch, this example has a true arch below. It was 
doubtless carried out to repeat the oval above. However, the top rail 
is pierced and does not attempt to copy precisely the design of the lower 
rail. Owner: Mr. Edward C. Wheeler, Jr. 

No. 445. A carved chair with Spanish foot. The Spanish foot when 
it is correctly wrought is one of the greatest beauties of early furniture. 
The proportions require to be very carefully followed, and some examples 
are extremely clumsy. Particularly restorations of such feet are often 
a bad joke. They need not all follow the same lines, but they must all 
sweep in graceful curves like the unfolding of the fronds of a fern, 
reversed. When these feet were new they showed a fully curved element 
sweeping about the base. As that has worn off some chairs show merely 
a lip on the inside. The left hand foot here exhibits the lines as they 
should be. The very graceful stretcher in the scrolled arch form cor- 
responding to the top of the panel above is good. ‘This panel suggests 
a mirror frame of the period. 

Owner: not known. 

No. 446. A chair with twisted posts and stretchers. 

Owner: Mr. Stanley A. Sweet of New York. 

This chair has a strong English feeling. The band of diamond 
scratches on the face of the front rail, the carving of the arm, and es- 
pecially the twisting of the post suggest an English chair. The question 
here arises whether any American chair possesses this twist. The writer 
owned such a chair in maple but he never felt certain of its origin. Cer- 
tainly the motive is very handsome and we can hardly account for its 
rarity, or perhaps its total absence, in America. The shell carving on the 
top rail is very unusual. We see thoroughly established in this chair the 
acorn shape of the finial. Some times this appears in urn form as in 
No. 448, and sometimes more in the turban form as No. 447. It 1s, 
however, quite distinctively different from the seventeenth century form 
of the heavy turned chairs. 

No. 447. A side chair with the “ English” scroll foot, and a back 
panel with reeded and carved banisters. This is a variation on chairs 
hitherto shown. The wood is hard, possibly beech. 

Owner: Mr. Edward C. Wheeler, Jr. 

No. 448. A chair in the former collection of the author in which 
the lines of the back panel are obscured by an attached upholstered panel, 


358 FURNITURE OF THE PILGRIM CENTURY 


which is here out of place. The lines of this panel, alike at both ends, 
are attractively shaped as is also the arched and pierced stretcher. 

As to the dates of these chairs, we have seen them dated to the very 
end of the seventeenth century. We mean that the date was cut in the 
carving. It may be that there are American chairs of this type as early 
as 1660, but we very much doubt whether any of them reach back beyond 
1680 or 1685. 

No. 449. A carved and scrolled chair which, while thoroughly good, 
does not merit attention as much as some that have preceded it, shown 
on a smaller scale. One sees here a bottom rail in the back, that is per- 
fectly plain, and also plain reeded banisters forming the sides of the 
back panel. The seat of this chair, which is rush, was no doubt caned 
like the back, though it is possible transition chairs existed with a rush 
seat and cane back. 

No. 450. A carved Flemish arm chair. The feature of this chair 
which emphasizes itself is its extreme hight, between fifty-seven and 
fifty-eight inches. It is very similar in design to Mr. Wheeler’s side 
chairs already shown. There is much pleasure in following the rami- 
fications of furniture through all its changes. At this period it would 
seem that there was an effort to carry the chairs up so as to supply a wall 
decoration. Nobody could possibly require this hight even for a head- 
rest. We may remember that highboys of the period were also lofty. 
Looking-glasses, also, tended to slender vertical outlines with highly 
decorated tops. It was the age when high ceilings were affected, so that 
long vertical lines in the furniture were almost compulsory. 

It is unnecessary to enter into the details of these chairs, sufficiently 
indicated elsewhere. 

No. 450A. and 452. These pieces of decorative iron as used in 
Pennsylvania are covered with small stamped designs repeated in the 
form of a border. 

No. 451. A handsome Flemish chair. It is reported to have been 
the property of William Penn. The reader should be warned that in 
all reproductions of this sort the front of the chair always appears too 
large in proportion to the back, owing to the foreshortening which is 
exaggerated by photography. In this example we have the fully de- 
veloped knob or shoe on the foot, for the scroll to rest upon. We have 
not observed this knob on the “ English” foot. In some of these chairs 
the connection between the stretcher and the front leg has been unsatis- 
factory. In this example, however, ample space has been provided so 
that nothing looks pinched or lacking in completeness of design. 

Owner: Mr. Edward C. Wheeler, Jr. 


FURNITURE OF THE PILGRIM CENTURY 359 


Nos. 453-454. A pair of handsomely scrolled Flemish chairs. Of 
course the panels of the backs were originally the same, and the seats of 
both were like that on the left. 

Owner: Mr. Francis Hill Bigelow of Cambridge. 

The carving is delicate, and that of the scrolled stretcher is more 
carefully copied from the top rail than that of any other example that 
we have seen. We have here a molded edge on the lower rail behind. 
The carving is massed on the top rail, and the reeded panel is left plain 
at the sides. 

Nos. 455-456. A pair of panel back chairs. 

Owner: Mr. Edward C. Wheeler, Jr. 

In these examples the plain turning and the molded and reeded rails 
of the back are relieved only by the carving of the top rail in an unusual 
and striking pattern. The scroll under the seat has been quite generally 
lacking from the chairs hitherto shown but a somewhat similar scroll 
appears in No. 458. 

The painting of these chairs was decorated with bands of gold. They 
were found at Salem, and are said to have belonged to Nathaniel Haw- 
thorne, from whose former residence they came. The reader will have 
noticed the transition from the turned back posts and the handsomely 
molded post, which appears in these chairs for the first time. In previous 
examples as in No. 445. we have had a similar molding surrounding the 
panel itself. Here the molding is on the posts whereas the panel frame 
is done in a modified reed. 

No. 457. A turned corner chair, of unusually heavy character. 

Owner: Mr. Mark M. Henderson of Norwalk, Connecticut. 

The turnings here are, strangely, not symmetrical. We do not now 
remember another instance of this kind. We look to see the bottom 
stretcher correspond with that above it. Corner chairs possess many 
merits, and we are always surprised at their comparative rarity. In a 
massive form like this they are extremely rare. 

Of course, the imposed and shaped secondary piece at the center of 
the back is attached to strengthen the chair, where the two sectional pieces 
of the curved back rail come together in a mortise, on the back post. This 
is also a method followed on Windsor chairs. 

In a later period chairs of this sort would be made with splats instead 
of slats. The splat is a broad, and usually shaped, thin piece at the back, 
running from the rail to the seat rather than from side to side in which 
later case we use the word slat. 

The shaping of the slat by steam or hot water or by placing it in a 
form when green was universal. Hickory was an admirable material 


360 FURNITURE OF THE PILGRIM CENTURY 


for this purpose. Ash, oak and maple and doubtless various other woods 
were also used. When they were green there was no difficulty in giving 
them a slight curvature, about the same as that of a barrel stave. In 
fact, the staves of kegs were often of about the same length and con- 
tour as the chair slats, and it is entirely possible that the first slat back 
chair was an accommodation or adaptation adopted as a makeshift by the 
cabinet maker. If he found a short keg stave convenient to his hand the 
inspiration may have seized him to use it in chair backs. Certainly the 
device was an immense success. Carried too far, however, as is often 
the case, by a too ambitious scrolling of the slat, splitting off was common. 

No. 458. A scrolled side chair with twin vertical panels. This beau- 
tiful chair, as full of curves as the Meander river, carries to the extreme 
various characteristic elements. 

The top rail rolls over in a graceful spiral. The posts are elaborately 
molded. The legs in front are a modified Spanish foot. 

One observes at the top of the scroll of the leg a turning such as in 
the chair No. 451, markedly setting off the scroll from the remainder of 
the leg, which is ribbed on the corner and at the sides. 

The side and the medial stretchers are also boldly scrolled, and the back 
feet have an extreme rake. Of course this conformation gives stability to 
a chair with a high back, which would otherwise be very easily overset, 
as we often learn to our sorrow. 

The caning in the back of this chair is the finest and daintiest that we 
have ever seen. ‘The seat rail is done in gilded foliage, which we suppose 
was original. The chair is painted black. 

No. 459. An unusual pair of small tongs, doubtless intended as pipe 
tongs. Modern examples of this sort, though lacking some of these ele- 
ments, are common. Several pairs of tongs with twisted legs have recently 
been found in the same section of Massachusetts. 

No. 460. A carved chair with Spanish feet and ram’s horn arms. 

Owner: Mr. Stanley A. Sweet. 

This chair is peculiar in that the post, supporting the arm, does not 
continue in a line with the front leg, but is set back on the seat rail. The 
center of the spiral on the arm is clearly shown, standing out like a spike, 
in the best ram’s horn design. The turning of the legs and the arm sup- 
ports is very bold. 

No. 461. Owner: Mr. Stanley A. Sweet. 

This very elaborate chair shows every feature of the Flemish style. 
The scrolled elements of the leg are much more richly carved than is 
common; the section at the hight of the stretcher being done with imbri- 


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455 


FURNITURE OF THE PILGRIM CENTURY 365 


cations. The back is rather intricately carved each side of the panel in a 
design somewhat different from any we have hitherto shown. 

No. 462. Owner: Mr. Edward C. Wheeler, Jr. 

A handsome side chair with Flemish scroll, very closely like, but 
slightly differing from, other chairs in this work. 

Date: 1680-1700. 

Nos. 463-464. A pair of interesting chairs with Spanish feet. 

Owner: Mr. Francis Hill Bigelow. 

The feet are in good style. The roll of the top of the rail suggests 
comparison with No. 458. A touch of carving runs about the molded 
back in a grooved line, and in a series of four pointed leaf-like forms. 

No. 465. It belongs to the style immediately following the Flemish 
and far more generally seen in Amercia. The banister back chairs are 
comfortable and have been very popular. In this instance the bottom 
rail is scrolled with an ogee molding, and all the stretchers are pleasingly 
turned. We have here an instance of the rolled arm, but in the square 
section. The chair contains a single element of carving in the back fail; 

Date: 1700-1710. 

Ownership, now, or formerly: Mr. Brooks Reed. 

No. 466. A five banister back turned chair. Here is again: an 
imposed and scrolled but simple back rail. 

Owner: Mr. B. A. Behrend. 

The dates of the New England slat back and the banister back chairs 
of this type were coincident. The slat backs, however, began sooner 
and lasted longer. Perhaps they were somewhat more comfortable. The 
banisters were elastic enough to give comfort, but if the sitter’s back came 
against the bottom rail, as, in a lounging position, it would do, discomfort 
would ensue. 

The method of turning banisters, especially those of delicate contour, 
was as follows: two pieces of wood were glued together with a paper 
between them. ‘They were then turned as a unit, the division being at 
the center. The insertion of the point of a knife, and a deft twist of 
the arm, would then separate the pieces, and leave a smooth surface 
without loss of shape, such as would ensue if the banister were sawed and 
then planed, both difficult operations. 

Nos. 467-469. Three small pieces for children. The little wing 
chair with ends shaped like a settle; a child’s chair, larger than a baby’s 
chair, and a stool with molded side skirts and ogee legs. 

No. 470. A well carved Flemish side chair in which the small 
secondary scroll on the front seems distinctly designed to receive the 


366 FURNITURE OF THE PILGRIM CENTURY 


arched stretcher. The panel of the back here is strikingly narrow, and 
while arched at the top is straight at the bottom. 

No. 471. A very attractively turned high chair with a beautifully 
worn rung. It was in the author’s former collection. The turnings follow 
the design of the New England chairs for grown-ups of the period of 1700. 

No. 472. A cane chair with ram’s horn arms, and very wide cane 
panel. Both the back legs and the panel frame are strongly molded. 
The stretcher, instead of following the scrolled outline of the back rail, 
is turned. We see a somewhat restive and shifting variety of mixed de- 
signs about this period, which was the beginning of the departure to the 
eighteenth century styles in walnut, with cabriole legs. 

No. 473. A Spanish foot, banister back chair. 

Owner: Mr. B. A. Behrend. 

This chair is one of a pair. It differs from chairs recently treated in 
that it has a back with four banisters, and the carving is confined to the 
top rail and the feet. The Spanish feet were sometimes carved from the 
solid. In a great many instances, however, blocks were glued on the out- 
side, to be carved as toes. Often these glued pieces, so liable to knocks, 
have broken off and been lost. It required a much larger post to carve 
the feet from the solid wood. In the effort to make chairs attractive, old 
examples with plain turned feet in bad condition have been seen carved 
into the alleged semblance of a Spanish foot. This trick may sometimes 
be detected by the failure of the toe to project beyond the vertical line of 
the leg. A commoner device is to saw off the old foot and attach an entire 
new one. This also is easily detected. In some instances this addition 
is legitimate, there having been a Spanish foot in place originally. 

Date: About 1700. 

No. 474. A Flemish chair owned by Mrs. John Marshall Holcombe 
of Hartford. It is similar to, though slightly different from, No. 462. 

No. 475. A very elaborately turned chair, in which the workman 
seems to have tried to show us what he could do. The contour of the 
slats, like the meeting of salamander heads, is in a bold design and very 
unusual. The lightness and the style of the finial belong to the period. 

By such exuberance of turning the worker made a flourish to show that 
neither he nor nature had exhausted themselves. To secure his effects, 
however, it is a question whether he did not make the necking of the mem- 
bers of the turnings somewhat too small and so imperil the strength of 
the chair. However, it has stood the test. 

Owner: Mark M. Henderson. 

Nos. 476-477. Complementary banister backs. We have here the 
cresting of the back rail, carved in the earlier manner. Below that point, 
however, the chairs assume a somewhat later form, although they have 


Me ‘ 
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457. Heavy Turnep Corner Cuan. 1700-1720. 





458. Spanish Foor Cuair. 1690-1710. 





459. Wroucut, Twistep Pipe Tonos, 18th Century. 


FURNITURE OF THE PILGRIM CENTURY 369 


Spanish feet. While we have called the chairs complementary, it is a 
question whether their turnings, which vary slightly, indicate that they 
were made to go together. One should observe that the huge stretcher 
of the arm chair often appeared thus, much larger than in the side chair. 
Indeed, in the arm chair the turner sometimes seems to attempt to show 
us what he can do. He had a chip on his shoulder. He bubbled over 
with the love of design. 

Nos. 478-483. Six old forms of blind fasteners found in New 
England. The somewhat flattened S shaped forms are the oldest. The 
two at the left, attached with plates, indicate a second period. That at the 
right, used with a spring, is probably as late as 1800. Properly the earlier 
type was not found in use for blinds, that is lattice work, but rather for the 
solid earlier shutter, of the seventeenth and eighteenth centuries. The 
earliest use in New England for the lattice blind is the latter half of the 
eighteenth century. 

No. 484. A turned chair with heart and crown back. 

Owner: Mr. George Dudley Seymour. 

It has the good feature of the intermediate arm stretcher. We have 
never seen the back stretcher in an ornamental form in chairs of this type. 
Even as we write, we find the only exception which is in our possession 
is a hoax, the ornamental back stretcher being new. The front of this 
chair is somewhat foreshortened. One should notice the molded arm. 
We wonder whether an applied scroll on the under side of the arm end 
may not be lacking. We have, however, seen forms like the one here 
shown. ‘This chair was found in Milford, Connecticut, and is in the 
Wadsworth Atheneum, Hartford. 

No. 485. This chair is the most perfect of its kind that has come to 
our attention. The middle bracing stretcher under the arm is turned in 
the most delicate fashion possible. The turnings between the slats and 
rungs are cunningly spaced. The ball turning of the front stretchers and 
the sausage turning of the side stretchers are all characteristic and good. 
The finial is the best of this period. If we could ask any improvement 
at all it would be ina slightly better contour of the roll of the arm in front. 
This beautiful chair is the property of Mr. George Dudley Seymour. At 
the Wadsworth Atheneum. 

The chair was found in the Captain Charles Churchill House, Newing- 
ton, Connecticut. 

No. 486. A chair with five reeded banisters and a crested back rail 
with three hearts and a crown. 

Owner: Mr. James Davidson. 

The peculiar bracing stretchers just below the arms have been chal- 


370 FURNITURE OF THE PILGRIM CENTURY 


lenged as being too close to the arms. It is impossible to verify the 
matter without taking the chair’to pieces, but we believe it is all original. 

Nos. 487-491. The finest example we have so far seen of the cere- 
monial gift fork is that showing the fine heart and curl at the top and the 
elaborate decoration here. This iron is most interesting from the fact 
that it is drawn out in appearance with a grain like molasses candy. One 
can see every strand almost as clearly as if it were a skein of thread. The 
minute copper bowled spoon is small enough for a mustard spoon. We 
do not know its use. The shovel with the heart opening was undoubtedly 
to turn the pancakes. 

No. 492. A banister back Spanish foot side chair. It was in the 
Webb House, Wethersfield, in the former collection of the author. The 
mellow effect of the foot, blending with the leg, and the very handsome 
and unusual three leaved figure at the center of the stretcher, with the 
rayed effect in the crest of the upper stretcher are all interesting features. 

No. 493. A reversed banister back chair. The intermediate stretcher 
under the arm, unusual in this type, adds to the interest. A peculiarity 
is the turning of the banisters so that the flat is at the back, and their 
advantage is wholly lost. We have seen this in several other examples 
and regard it rather as a mark of oddity than of merit. 

Owner: Mrs. John Marshall Holcombe of Hartford. 

No. 494. This shows the first of our chairs with a series of semi-circles 
in the arched top, formed by well cut molds. The effect is good. It is 
also seen on the backs of some day beds. 

Owner: Mr. Arthur W. Wellington. ~ 

Date: About 1700. 

No. 495. A chair owned by Mr. G. Winthrop Brown. The long 
strong bevel of the upper and lower rails is an effective feature, and we 
wonder that it was not oftener adopted, as it certainly imparts a feeling 
of style to the chair. The same is true of the great rung, the individuality 
of which is most striking. 

This chair is a good example, which should be carefully noted by the 
student, of the fact that when the spindles are properly turned they are 
precisely like the side posts. Thus a line drawn across at any point shows 
the element of the turnings of every one to be in line with the chair post. 
Some makers neglected this obvious point of merit. When we have five 
banisters, the effect is much more marked, and we are of opinion that such 
a chair is very good in taste and in effect. 

Date: About 1700. 

No. 496. A candle chair of the New England type of turning. The 
candle sticks were made open at the bottom with sockets to fit over the 


460. 


, ae, 
Ldsdndchinbetaeet tii 
Serer ae 


Fiemiso Foor Scrotiu Carvep Cuair. 





1710-20. 





ee 


FLEemisH Scrouti SIDE 


Cuairs. 





1680-1700. 





1700-1720. 


Parr SpanisH Foor Cuairs. 


463-464 


| 





465-466. ‘Turnep Banister Back. 1690-1710. 








sg 


Rate noma 


evn ‘ i a 
HL eaten i sah innprsameeisineny poh shit hs 


a en ET = : 


» - Sa ie 





467-469. CuiLp’s Cuairs anv A SToor. 


FURNITURE OF THE PILGRIM CENTURY a75 


tops of the posts, which on these chairs projected somewhat more than 
usual on that account. The candle sticks were lost from this piece and 
have been renewed. We have seen such old candle sticks in the market. 

Date: About 1700. 

No. 497. We have shown this fully scrolled Flemish chair in profile 
in order to give the effect of the legs. This example is conventional in 
all respects, and in excellent condition. It is painted black. 

Date: About 1690-1700. 

Nos. 498-502. These curious little articles are scarcely known out of 
Pennsylvania, aside from the pipe tongs. The little piece looking like a 
hammer and a hatchet are a set of utensils probably made as a gift. The 
knife edge, which was very sharp, is a buttonhole cutter. It was held on 
the cloth and tapped by the hammer. On the other end of both pieces 
there is a taper coming to a point, which is used to make holes for em- 
broidery, the size of which was gauged by placing one of these pieces 
through the other, or by holding the hand at the depth required. The 
single ornamental cutter is for the same purpose, except that it is more 
elaborate. We have seen even finer examples. The length of these 
handles is about three to three and a half inches. The best cutter and the 
tongs belong to Mrs. M. B. Cookerow of Pottstown, Pennsylvania. 

No. 503. This interesting chair is unusual in the excellent shaping of 
its mushrooms and in the turning below them, 

Owner: Mr. J. H. Stiles, York, Pennsylvania. 

Date: About 1700. 

No. 504. A reversed banister back side chair in which the turnings 
are rather bold, and the crest of the top rail is done in moon shaped 
openings. 

Date: About 1700-1720. 

Owner: Mr. George S. McKearin, Hoosick Falls, New York. 

Nos. 505-506. Two little bird trammels. That with four prongs 
belongs to Mr. Dwight Blaney, and that with three prongs to Mrs. DeWitt 
Howe of Manchester, New Hampshire. Such small trammels are rare 
and desirable. They were used in cooking squab or other small birds, as 
game birds. Yet they are true trammels, to be attached to the crane and 
adjusted as desired. Eighteenth Century. 

No. 507. An excellent pattern of a baby high chair in the New 
England type. This is the only chair we have seen in which the foot rest 
was turned, and the short button like attachments reaching from the foot 
rest to the posts also turned. There is an agreeable effect of wear, and 
the sausage stretchers add to the interest. 

Date: About 1700. 


376 FURNITURE OF THE PILGRIM CENTURY 


Nos. 508-513. A series of six lanterns. The second is the sort used 
in the nineteenth century. The fourth is of wood. It could be hung or 
carried asa sconce. The fifth is a ship lantern designed for a corner. The 
other specimens are as late as the nineteenth century. 

No. 514. A very good specimen of a New England five back arm 
chair. The effect of uniformity in the back slats is very marked. The 
failure to turn the front posts below the seat probably marks a date about 
1690. 

Owner: Mr. Arthur W. Wellington. 

No. 515. An unusual banister back, with an interesting crest on the 
back rail, one or two other examples of which we have seen. Usually, 
however, the rail is carved as a sunburst reaching up to the scallops. This 
chair is odd in respect to the slant of its scrolled arms. Other slant arms 
which we have seen were turned. 

Owner: Mr. George S. McKearin.. 

Nos. 516-527. A series of fireplace and other utensils. No. 516 and 
No. 523 show good forms of skimmer handles. No. 517 is a good design 
for the top of a shovel. No. 518 is a small and late pair of pipe tongs. 
No. 519 is a large pair of kettle tongs, probably. No. 520 shows an 
unusual trivet designed for use with a round based pot. No. 521 is a 
pot lifter. No. 522 is a pair of tongs with an ornamental handle, cut in 
interesting geometrical designs. No. 524 is designed to be used to handle 
pies in a deep oven. No. 525 we would be glad to learn the use of. 
No. 526 is a quaint spoon and No. 527 is a very odd design of pipe tongs, 
the wing at one side being for pressing down the tobacco in the bowl. 

No. 528. AQ fine five back chair. It is very high. 

Owner: The estate of J. Milton Cobourn, M.D. 

Date: 1700-1720. } 

No. 529. A well turned and double armed five back chair. 

Owner: Mr. Henry S. Stearns. depuis 

No. 530. A spinning chair. The seat is very high, and the back is 
very low to permit the drawing back of the arm, and the sway of the body. 
It was a wearying task to stand at the wheel all day long and at times the 
spinner could half sit, using this chair somewhat as a monk’s stool was used. 

Date: Eighteenth century. 

No. 531. A five banister back. The reversed curve of the back rail, 
and the huge stretcher give the chair sufficient interest to induce us to 
show it. This and the previous number were in the author’s former 
collection. 

Date: 1700-1720. 

No. 532. In this chair we have the last example of the transition 





470. FremisH Scroti Car. 1680-1700. 








1700-20. 


SpanisH Foor Arm. 


472. 


Hicu Cuaire. 


471. 


wei 4 isaietnenestrsnnsniimocecesimn nem es 


s 


SPANISH 


Foot BanisTER. 


su. 


we | © Nese ay | § 


3 


* 





474. FiemisH Cua. 


ees 


CF ercee EL s 
FESTA TENT IF tC PEs “ 
Z 


V4 


See Te ka ne: | 


SEE AL ea oc 





eee eee tan et Lie ameNs 


475. SALAMANDER Back TurNED CuaiR. 1700-1730. 


FURNITURE OF THE PILGRIM CENTURY 381 


period between the seventeenth and the eighteenth centuries, for there 
were Spanish feet, though these are now pretty well worn down. The 
back, however, follows the lines of the Queen Anne type, having the 
fiddle shaped splat. With this chair and No. 545 we shall limit the 
illustration of the period. 

Owner: Mr. Edward C. Wheeler, Jr. 

Date: About 1720. 

It is well decorated in black paint with gold lines constituting an in- 
tricate scroll. It has a suggestion of the lacquered furniture of about 
this date, and probably was painted to approach that style. 

No. 533. A handsomely scrolled and decorated door hasp from Penn- 
sylvania. It is 16 inches long. The Pennsylvanians made so much of 
their barns, and hasps were so unusual on dwelling house doors, that we 
are not certain to which this piece was applied. 

Date: Eighteenth century. 

Nos. 534-535. Examples of chairs in the collection of Mr. George 
F. Ives. The second one is unusual in its ox bow or reversed serpentine 
back. We feel disposed to bring the dates of these chairs forward from 
twenty to sixty years in some cases, as we find that chairs for children seem 
to hold the old design longer, and we have found similar chairs of known 
date. 

Nos. 536-537. Pleasing types of baby chairs holding to the fashions 
of the larger examples. 

No. 538. A banister back chair with scrolled arms which are pierced 
through at the circle of the roll over. The holes are made on a taper in 
the form of a countersink so as not to weaken the arm too much. The 
back is of an odd shape to add some dignity to the plain form. 

Owner: Mr. James N. H. Campbell. 

Date: 1710-1730. 

No. 539. Around about chair. These types are more frequently seen 
in England. The secondary imposed back or comb turns the piece into 
what is often called abroad a barber’s chair. A chair like this was the true 
precursor of the Windsor chair in respect to the spindles of the back and 
the comb. ‘The back is sometimes called a sack back, the thought being 
that it was to receive a sack or a garment so as to hold it about the figure 
for warmth, —a kind of temporary upholstery, as a shawl. 

Owner: Mr. G. Winthrop Brown. 

Date: 1700-1720. 

No. 540. A child’s wing chair, slanted at the back to render it more 
stable. The arms were cut for a bar to keep the child safely. There is 
a good hand hold behind. 


382 FURNITURE OF THE PILGRIM CENTURY 


No. 541. A joint stool only fourteen inches high. The turnings of 
this stool are like those on the Thomas Robinson chair, also the bead at the 
bottom of the rail. The stool probably stood about an inch higher. It is 
of oak, like the chair, and the legs are vertical. It was found in the same 
part of Connecticut as the chair and was probably made with others like 
it at the same time as the chair. It is a very quaint example. 

No. 542. A child’s chair shown in larger scale than the chair to the 
right. It is the property of Mr. Chauncey C. Nash. 

Date: 1700-1750. 

No. 543. The roll over of the arms of this banister back chair is 
interesting since they are done with a touch of carving in the star pattern. 

Owner: Mrs. Niles Lewis Peck of Bristol, Connecticut. 

The rockers are, of course, out of place. The posts are maple and the 
rungs look like oak or ash. The hight is 454 inches. 

Date: 1700-1730. : 

This chair belonged to the Rev. Samuel Newell of Yale, 1739; first 
minister of the First Church, Bristol. 

No. 544. An arm chair in the Transition Dutch model, which instead 
of a splat had reeded banisters. The Spanish feet indicate that it fairly 
belongs within our period. 

It was in the possession of Mr. Henry V. Weil. 

Date: 1700-1720. 

No. 545. A leather back chair owned by Mr. George Dudley Sey- 
mour. It is in maple with stretchers of beech. It was bought in Hartford, 
and belongs to the Transition period, inasmuch as it has a panel with leather 
rather than a splat. 

Date: 1710-1720. 

Nos. 546-547. Two Pennsylvanian fat lamps. Various sorts of fat 
or oil were used in these lamps. When it became hot there was a tendency 
to spill the liquid, when the lamp was moved about. Such lamps, therefore, 
are always made on a swivel. They are not, however, gimbal lamps, since 
there is only one plane in which they swing. These little lamps, seven to 
eight inches high, with bases from four to six inches broad, are found in 
an immense variety of styles in eastern Pennsylvania and western New 
Jersey. Each lamp bears some mark of individuality, and there are large 
collections of this type. Sometimes the base is a saucer shape, but more 
often it is a tripod. 

There is always some touch of ornament, and the work is always 
wrought. As to dates we find that Connecticut, called the land of steady 
habits, must withdraw into the shade in comparison with Pennsylvania, 
where in rural counties they do things very much as they always did. We 





476-477. Spanish Foor BanisTER Backs. 1700-1710. 





SHUTTER FasTENERS. 18th CENTURY. 





484. 


Heart AND Crown REEDED BanlisTER. 





1700-1730 


aa 











485. New Encranp Five Back. 1710-30. 





1710-30. 


Heart anp Crown Cuair. 


486. 








18th Cenrury. 


Girt Fork AND OTHER UTENSILS. 


487-491. 


FURNITURE OF THE PILGRIM CENTURY 387 


find these lamps in the seventeenth century, perhaps; in the eighteenth 
century, largely; and probably, also, well into the nineteenth century. 

No. 548. We close our treatment of chairs with this quaint specimen. 
It has on one post a box built of wood like a sectional bearing, to swing 
about the post, and to carry a small writing table or drinking table, how 
do we know which? It is now appropriately tipped up so that it can hold 
nothing dangerous. It is a forecast of the writing arm Windsor, and does 
not antedate it more than twenty years, probably. 


STOOLS 


We HAVE already expatiated somewhat on the use of stools, as pre- 
ceding that of chairs for people in ordinary circumstances. We do not 
have in America the long form except as it appears in the pine seats of old 
church galleries, and in the stick leg puncheon-like benches, found in the 
Appalachians. In England the long form ran down the back of the trestle 
board table, and the short form was placed at the ends for one, or at most 
two diners. We find here only the short form which we otherwise name 
a joint stool, which distinguishes it from stick-leg or Windsor type turned 
stools which were so common. The English short forms are common 
enough, especially in their spurious imitations which flood the country. 
The top ‘may be of leather or plain wood which latter is attached like a 
table top. Indeed, it is not always possible to know whether a joint stool is 
intended to sit on or to use as a table. A wise conclusion would be that 
such pieces were often used for both purposes. 

These stools were twenty-one or twenty-two inches in hight ordinarily. 

No. 549. A joint stool with vertical legs and a medial stretcher. It 
has been presumed that this example is American, but we were not on earth 
when it was made. 

Nos. 550-551. A pair of remarkable stools found at Newburyport. 
Their turning resembles that of the six legged highboy. We have never 
heard of or seen any other examples in America. The very fine covers 
were made by a person now or recently living. The stools, however, with 
their remarkable cross stretchers which resemble the swastika design, are 
dainty and add the last touch of charm. The feet vary amusingly as does 
the whole turning of the post in size, —a common enough occurrence. 
The stools are the hight of an ordinary chair, and their tops are formed of 
a circular section, hollow in the center so as to take the upholstery and to 
receive the dowels of the posts. The wood of these stools is very light, 
probably bass. The style is scarcely adapted for strength, and if more of 
them existed one can easily imagine that they would have gone to pieces 
long before this date. 

No. 552. A joint stool of about double, or at least more than half 
exceeding, the usual length. It has an English feeling and we are not 
certain of its origin. 

If stools are in walnut or oak we think them more likely to be English. 
If they are of maple we suppose them more likely to be American. 

388 


nnn tet en OTT NON ATI Te 





Fe NE aN fC S CAMA | as Nae aca 


1700-20. 


SpanisH Foor Cuair. 


492. 


493. 


SpanisH Foor REVERSE 





BaNIsTER. 


1700-20. 





i ar a Ba 


494. Arcu Raix Banister Back. 


ar 


+ SRT Ne ie 


iE 





4 


- : 


eee ; 


N 


ied. deaamaammamal Lee ae ae ipit 1g) Sepeenemy ot . 





i ak ON SS cca ln ie ca a aS Rt 


495. BanisreER Back, 1700-10. 


Sos, 


496. 


CanvLE Posr CuHarr. 1700-10. 


[ee 


498-502. Decorative UTENsILs. 


497. 








FiemisH CHAIR. 


FURNITURE OF THE PILGRIM CENTURY 393 


Owner: Mr. Chauncey C. Nash. 

No. 553. A joint stool owned by Miss C. M. Traver of New York. 
It shows the usual style of these stools. They spread one way. That is 
to say their legs rake in one direction but are in a vertical plane the other 
way. This stool shows clearly the nature of a proper board top, with the 
thumb nail molding, which is conventional for the joint stool. 

No. 554. A joint stool the top of which is not original. We presume 
the stool to be American. The average length of these stools may be placed 
at twenty inches. The earliest gate leg tables have been found with turn- 
ings like this example. We think that all true joint stools date in the 
seventeenth century, or if not so they are scarcely over the line into the 
eighteenth. 

No. 555. A joint stool which has lost the turnings of its feet, but 
which has the original pinned top with the thumb nail mold. In the time 
when chairs were very heavy, joint stools were more convenient to move 
about, and sometimes, as we remember, to throw at the heads of bishops! 

The wood of this specimen is maple. 

No. 556. A joint stool with a drawer. It has lost the turnings of 
its feet. The present hight is 164 inches to which two inches are now 
added. A piece as low as this could not have been a table. It is even low 
for a joint stool. The wood is maple. We know no other stool with a 
drawer. 

Nos. 557-566. A series of lighting fixtures. The first is a little 
copper lamp, the shape of another like it on the wooden stand, the third 
to the right from it. It was convenient to carry these light whale oil 
lamps about, and place them on the neatly turned stands when one desired 
to read. 

The second piece in line is sometimes called a hog scraper candle stick, 
because the hollow disc base was found to be admirable for cleaning 
bristles, the standard making a good handle. When these candle sticks, 
as here, have a brass or copper ornamental ring they. are counted better. 
The third piece with the hook could be caught over the side of a barrel 
by a cooper and one or more candles could be inserted in the scrolled base. 
Thus he could see whether light showed through between the staves. 

The lamp at the right of the standard is so small as to be almost un- 
noticed but it has a snout and looks like a miniature tea kettle an inch or 
two high. Doubtless it was a maid’s lamp for lighting her weary feet to 
bed. The next piece with the funnel shaped base and scolloped catch 
basin, handle and wick snout, is a quaint tin lamp. The saucer candle stick 
is well known. It appears here in a very broad deep base. The next piece, 
quite minute, has two sockets, one probably being for tapers and the other 


394 FURNITURE OF THE PILGRIM CENTURY 


for candles, but since we have never used it we are uncertain. The last in 
line is for a flat wick, probably to burn fluid. In date these fixtures range 
all the way through the eighteenth and into the nineteenth centuries. 

No. 567. We cannot resist bringing in, as a kind of titman at the end, 
this spider-like very early Pennsylvania Windsor high chair. We ‘have 
seen one or two other examples quite like it. The medial stretcher turned 
in the Queen Anne style indicates a date, probably, not later than about 
1720. We leave the consideration of the fascinating subject of the Windsor 
chair to the author’s little book on American Windsors. 

Owner: Mr. Chauncey C. Nash. 

No. 568. These pipe tongs are of most unusual construction and are 
opened by compression. This is a little confusing, but no doubt their owner 
could have shown us their apt manipulation. The specimen is very rare, 
and we are not certain of the ultimate origin, but they were bought near 
Manchester, New Hampshire. 

Owner: Mrs. De Witt Howe, Manchester, N. H. 

No. 569. A squab stool. The name is derived from the hollowed 
surface formed by raising the frame around the seat so as to receive a 
cushion. The piece is remarkable in its single high stretcher. It is in- 
serted here to give strength but omitted from the other side as deemed 
unnecessary. Thus the whole piece was left so as to permit of drawing 
the feet under one. 

The photograph was made when the piece was in the possession of 
Mr. Brooks Reed. Its size is not unusual, but it is featured here for its 
rarity. It is about the hight of a chair. 

No. 570. A joint stool belonging to Mr. Dwight Blaney. It is of 
the good conventional type with the legs raking one way. 

No. 571. Another stool of a heavier type and with slight carving 
under the frame, and at the base of the stretchers. This ornamented frame 
assimilates this piece to the English style. The date of the left hand 
piece may be 1670-1690; that of the right hand piece is perhaps 1650- 
1670. It also is owned by Mr. Blaney. 








Seer rere Sh a a RRS eas ia ea al 


1 Sat ID A Se ey i 4 Bo | 





TIMER RSA sit NAL Slachrb 


503. 


MusHroom Cuair. 


1700-20. 


504. 


sn Hi 


REVERSED BanIsTER. 





505-5006. 


TRAMMEL SPITS. 





1710-30. 






aa ied ats anil BED 


i isisin. cs Saas R Nae MAb Db, 





Wa No 8 tC i a dia aici 


507. Turnep HicH Cuair. 1700-1710. 








re ene ete 


508-513. Series of LanTerns. 18th anp 19th CENTURIES. 





A 


4 


A 





515. Rortep Arm Cuaire. 


ols 
Pa peers 
we Bese 
Fm eee 
eg Pe 
= a 
iy Pees 





516-527. FirepLace UTensiLs. 





530. 


528-529. RotiEep Arm Suar Backs. 


SPINNING CHAIR. 531. 





1700-1720. 





Ho.tuow Bacx BanisTER. 


DAT. BEDS, “SETTEES AND SETTLES 


Tue day bed, which is commonly called a couch in England, and a 
chaise longue in France, is most aptly described by the last name since it 
is really a chair with a seat drawn out to the length of a bed. The back 
is precisely like that of a chair in most instances. The first set of feet under 
the back are often in a square section like that of a chair back of the period. 
Thus the true day bed never has its ends alike. A loose commercial term 
for a single bed with a head and foot is day bed. Doubtless it came in 
through a desire to render such single beds popular, or perhaps through 
ignorance. Ancient day beds with two ends were non-existent so far as 
we know. In England there was a sofa or upholstered settee, as we may 
name it, in the seventeenth century but it was extremely rare. The only 
example we have seen in this country is in the Essex Institute, and we 
do not know that an American origin is claimed for it. We have seen a 
double ended settee of the Sheraton period. We confine ourselves here, 
therefore, to the day bed, as it is the only type known in America during 
its period. 

The genesis of the day bed is unknown, like the beginnings of most 
other things in this world. We have sometimes found a duchesse of a later 
period, which is built like a short day bed, with a stool which can be moved 
up at the foot, and built to match it, so as to secure the length of a couch. 
The charm of a day bed consists in its lines, as they relate themselves to 
chairs of the period. Such interest has been excited in late years that these 
articles are practically all gathered in by collectors as rapidly as they are, 
found. Perhaps a score or two are known in addition to the Pennsylvania 
day bed of which there may be as many more. 

It will be observed that they never have a back. The head is the back. 

No. 572. A day bed belonging to the Metropolitan Museum. The 
stretchers are carved and pierced and arched in a manner practically the 
same as that of chairs in the Flemish style, dating from 1680 to 1700. 

A feature of the construction is that we do not find a scrolled stretcher 
at the foot. The piece was intended, of course, to be placed at the side of 
aroom. The foot stretcher is set low to correspond with the cross stretchers, 
between the others pairs of legs. Asa rule these pieces are made on both 
sides alike. That is, they had no backs except the head, and were symmetri- 
cal and appropriate wherever placed. In the more elegant pieces as here 

399 


400 FURNITURE OF THE PILGRIM CENTURY 


the back and the seat are caned. In this example the legs are turned, though 
the principal stretchers and the back or head are carved. 

Another feature of these day beds is that the head is usually hinged, 
swinging down at the top on dowel pins which run from the frame of 
the head into the posts near the main frame of the day bed. These fea- 
tures are occasionally absent, and where they were originally present we 
sometimes find that the swinging head has been fastened in an immovable 
position like a chair back. The swing of the head was regulated by a 
chain which passed through the posts or was attached to them so that the 
head might be thrown down into a horizontal position or given any angle 
for comfort. Possibly this arrangement was made in deference to the 
occasional use of the day bed as a bed. The frame is usually a little 
short for a bed, and the letting down of the head serves to lengthen 
the frame. The specimen before us belongs to the walnut period. 

No. 573. This simple day bed shows the method of lacing or trussing 
the canvas where such a basis was used for a cushion. We may presume 
that the cane seats were often provided with cushions. At least they 
would otherwise have gone to pieces quickly. The arrangement to receive 
the cushion here is similar to that in many old fashioned beds, using a 
canvas instead of a rope support. 

Owner: The Metropolitan Museum. 

Nos. 574-576. A room in the Captain Brown House, the house of 
the Antiquarian Society in Concord. The remarkably handsome day bed 
shown in the corner of this room belonged to the Rev. Peter Bulkeley, 
the first minister of Concord, and the chair which is seen to match it was 
his chair of dignity, appertaining to his office. These pieces, having been 
designed to go together, are among our richest treasures of that period. 
In fact, the collection of this society, though smaller than the collections 
of the great cities, consists of a good number of very choice specimens, so 
much so that it is perhaps not rivaled in New England by any other 
public collection. 

No. 577. A simpler day bed belonging to the George F. Ives Col- 
lection. It will be noted that this is all turned and that even the post 
at the back is as near like the other posts as it may be and still afford a 
space for the mortise of the main rail. Upholstery on these day beds is 
. very rare and probably always out of place. We do not believe that in 
this case the upholstery should be attached. It will be noted here that 
the head is rather plain and composed of three splats, if we may use that 
term of wide banisters. 

Specimens like this or indeed any of the day beds are very light and 


FURNITURE OF THE PILGRIM CENTURY 401 


easily movable, by which we infer that it was the intention to place 
them temporarily where they were most convenient. 

No. 578. A turned day bed, the property of Mr. Edward C. Wheeler, 
Jr. This bed shows a proper cushion added to a foundation such as that of 
No. 573. The true stretchers at the head are a very unusual feature. 
One also sees here that the rails are mortised into the post at the foot, 
and do not run over the foot posts as in the other examples so far shown. 
This assimilates the day bed more closely to the chair. The bulb and 
ring turning is the usual style of the end of the seventeenth and the 
beginning of the eighteenth century, unless we have carving. 

No. 579. This day bed gives a good example of the development 
from a chair. Thus it will be seen that the back or head has legs 
precisely like a chair of the period, and that the front end or foot has 
Spanish feet, like the front legs of a chair. The intermediate sets of 
legs are plainly turned. The head in this case is the true Dutch fiddle 
back, Dutch in this connection referring to the types brought in under 
William and Mary and Queen Anne. 

The upholstery here has now been removed and a leather cushion 
put in its place. The canvas bottom is found. The day bed is of walnut. 
There was an inscription attached to the underside stating that the piece 
belonged to Clarissa Griswold of Killingworth, Connecticut, from which 
state the piece came. This piece is longer than usual, being 74 inches 
over all. The width is 213 inches. The hight of the head is 374 inches. 
The frame is 14 inches high. 

No. 580. AA prettily turned day bed with a paneled head. This panel 
being solid differentiates it from other examples. Here also is first seen 
plainly the arrangement for swinging the head. 

All the specimens we have so far shown have eight legs, a style 
more sought for and regarded better than the six legged type. 

Owner: Mr. L. G. Myers. 

No. 581. A heavily turned day bed. We have here the Dutch splat 
in the back, which in this case seems designed originally to be fixed. 

It will be seen that in the framing of a piece like this it is important 
that the cross members should enter the posts at a different level from 
the lengthwise stretchers. Thus there is ample room for mortises with- 
out weakening the legs. As an example of turning, this is an attractive 
day bed. The maker was called upon, owing to his chosen method of 
construction, to devise a very long turning for the side stretchers, which 
he has successfully accomplished. 

Size: 72 inches long, 263 inches wide, 164 inches high on the frame! 
The head is 363 inches high. 


402 FURNITURE OF THE PILGRIM CENTURY 


Owner: The estate of William G. Erving, M.D., of Washington. 

No. 582. A Spanish foot day bed with an extraordinary number of 
stretchers. We have never elsewhere seen anything like the two ad- 
ditional longitudinal sets which are mortised into the cross members below. 
The effect is not unpleasing. A much greater degree of strength was 
secured. In this specimen we have for the first time all of the feet 
carved in the Spanish fashion, and very well done. Of course, the original 
thought of the chaise longue was departed from in carving the feet at 
the back or head. 

The head here is elaborate and handsome. The wood is walnut, as 
in most cases of elegant construction. We are more apt to find maple 
in the simpler specimens. 

Owner: Mr. Martin Gay of Hingham. 

No. 583. A Pennsylvania day bed. These specimens are interesting 
for themselves and also because they undoubtedly foreshadow, and at 


no distant period, the beginning of Windsor construction. In fact, the ~ 


“blunt arrow ” type of construction found on the feet, and the general 
turning of the leg, is precisely like that found in the earliest specimens 
of Windsor arm chairs, though of course the posts here are larger. There 
is the curious effect in this specimen of slanted back posts, which omit 
the usual angle at the frame. That angle required a rather special 
adeptness with a lathe. 

The head is of reeded banisters running above into an arched and 
molded rail. The average size of the turning of the legs in Pennsyl- 
vania beds is about two and a half inches. The same heavy bulb and 
ring stretcher is used as appears in the Queen Anne furniture. The top 
rail of the back was made long enough to strike against the posts when 
the head was drawn up, and thus to prevent the head falling forward 
on the seat. 

In some specimens the central pair of side stretchers on the Pennsyl- 
vania beds is set at a different hight from the side pairs, in order not to 
weaken the wood. From a structural standpoint this scheme is good, 
but to borrow an expression from automobiles, it loses the stream line 
effect. | 

In all the examples we have seen of the Pennsylvania day bed the 
seats were covered with rush. The pieces are very comfortable, sub- 
stantial and quaint articles of furniture. 

Owner: Mr. Hollis French. 

No. 584. A specimen of the Pennsylvania day bed, in which the 
reeded banisters of the back enter a semi-circular crested top rail, which 
is heavily molded to correspond with the outline of the arch. 





532. Turnep Dutcu Cuarr. 1720-30. 





533. A Pennsytvania Ercuep Hasp. Late 18th CEenrury. 


7 


risiprengerg 





534-535. A Durcu anp A SERPENTINE CHILp’s CHAIR. 1710-20. 





536-537. New Encianp anp Pennsyivania Cuiip’s Cuairs. 








LV \ 


ArcHED BanisTER Back. 


Comps CorNER CHAIR. 


539- 


538. 





Slide del ARS dae at 


Beside 


& 


CuiLp’s Wine Cuair. 


540. 





ciel 


Very Earzty Joint Sroot. 1640-60. 


541. 





Ish MAST i 





BanisTER Back. 


543. 


CuiLp’s CHair. 


542. 


FURNITURE OF THE PILGRIM CENTURY 407 


In neither of these Pennsylvania day beds that we show does 
the ball at the foot of the post exhibit the best characteristic mark. Ina 
specimen of the author’s collection which is not shown, this ball is very 
markedly larger in diameter than any other part of the post, and the 
appearance is distinctive. 

We see here that the back posts, while turned above, are of a square 
section below, after the analogy of the chair. As a kind of concession, 
however, to the rest of the construction the square legs are roughly 
notched near the bottom. 

This piece was in the former collection of the author. 

The owner is not known to the author. 

No. 585. A day bed in the estate of J. Milton Cobourn, M.D. This 
singular and interesting piece is evidently a country made specimen. The 
stretchers instead of being turned or carved are cut like the skirt of a 
table, and are run around the entire frame at the same level. The head 
also is not made to swing but the top rail is imposed upon the posts, and 
a large number of banisters or spindles are inserted. Nevertheless, the 
legs have turned sections, as well as the upper parts of the head. We 
may presume that the maker was removed from the direct influence of 
an established style, and therefore worked from memory or from his 
own ideas. 

We may remark as we close the subject of day beds that their exist- 
ence indicates that our ancestors had not the iron constitutions with which 
they have been credited. The day bed indicates that they sometimes 
found it agreeable, and did not consider it immoral, to enjoy a siesta. 
We might, it is true, point out that the shortness of the couch portion 
may indicate that these pieces were used for resting in the bed chambers, 
and by the ladies only. We do not know that there is any ancient evi- 
dence as to the rooms in which these pieces were usually placed. 

No. 586. A day bed in the full Flemish design. This beautiful 
piece in walnut carries out completely the Flemish scroll in the design of 
the leg, and the stretchers It will be noticed that the arch of the carved 
stretcher in this case is filled with a pair of scrolls and is pierced. Un- 
doubtedly this method of construction was in the interest of strength and 
we believe it is sometimes found in chairs. This elegant piece has often 
been seen at the annual exhibit of the Arts and Crafts Society at Hingham. 
It is in good condition, and the existence of the balls or shoes on the feet 
indicate that it has always had good care. The head of this piece does 
not show very well but it is excellently carved. 

Owner: Mrs. Rogers of Hingham. 


408 FURNITURE OF THE PILGRIM CENTURY 


No. 587-588. No. 587 is a child’s settle. We see here the analogy 
of the pine chest, in that the settle has no frame, but that the front board 
is nailed directly to the scrolled end. 

The finger holes at the back corresponding with that of the wing 
chair on the right are interesting. Although these pieces are now found 
together we cannot suppose that they were made to go together, otherwise 
the scroll of the wing would match in both specimens. The boring of 
the holes rather than cutting out a larger piece is in the interest of retain- 
ing the strength of the wood, for the material here is pine. 

Although we have called the larger piece a child’s settle it is entirely 
possible from its size that it was a pung seat. Indeed the author owned 
such a seat in precisely the same construction, which showed on the out- 
side of the ends the wearing away of the red paint where the end had 
come in contact with the side board of the pung. 

The settle in its pine board form was the furniture of persons in 
moderate circumstances or, since it was placed as a rule in the kitchen, it 
was made thus simple for every day use. 

We have not seen an American carved settee or settle, though we 
have seen such a settee on which new carving had been done to pass it 
off as an unique American piece. 

No. 589. A small scrolled settle. The shape of the scrolls on the 
end boards of this settle suggest somewhat the crude carving in imitation 
of the limbs of an evergreen. The shortness of the piece adds to its 
interest. 

Owner: Mrs. De Witt Howe of Manchester, New Hampshire. 

The material is pine. 

No. 590. A miner’s candle stick. The flat scroll which receives the 
candle is made as a spring to grasp closely. The candle stick could either 
be thrust into the wall of the mine or hung up. Very elaborate speci- 
mens of these miner’s candles are known in Pennsylvania, one of them 
being a work of art. 

No. 591-592. A settle bed. At this writing this piece is the only 
one known of its kind in America. The author owned this for some 
time before he knew what it was. Below in No. 593 it is shown as used 
in the day time. An Irishman who happened one day to see it exclaimed, 
“ Well, if there ain’t a settle bed! I was raised in one of them things.” 
It is said that they are found in Ireland in oak, and there is a report 
that they are known in Poland. 

This piece is in hard and soft pine. The eleven deep panels of the 
back are framed and pinned so far as their rails and stiles are concerned. 
One board, however, covers the length of all and is of course not a true 


> 


Ale Oe tte 
~ 


544. 





SpanisH-DutTcH CHalIR. 





a 


546-547. 


545: 





PENNSYLVANIA Lamps. 





Earty Dutcu Cuair. 





+ | ee Ti, jee 


hw acaae eee cameperEIN 


ieee Sgn eeneltityte “+i tic abe fh 


548. Sztar Back wirH Writinc ARM. 1720-30. 





549. Turnep Joint Stoot. 





a 





1690-1710. 


Ss 


Parr or Unique Cuarir STOOL 


550-551. 





1680-1700. 


A Lone Turnep Joint Sroot,. 


552. 





553. SprayEp Joint Stoo. 554. Heavy Jornt Sroot. 





555. lLicur Joint Sroor. 


FURNITURE OF THE PILGRIM CENTURY —=§ 413 


panel. The panels in front are true. The seat swings out and down 
and is boxed at the ends, and was never built into the frame of the settle. 
It was attached by hooks and staples, a portion of which still remain in 
place. A feather bed was used, so that the bed and the covering would 
easily shut up into the confined space. The ends have panels like those 
on the front. The arms are of the wainscot chair type but are of pine. 
The front edges of the frame at the ends under the arms are very strongly 
molded. 

Size: Length outside 74 inches. The back is 363 inches high. The 
seat is 14 inches wide and 173 inches high. The frame at the ends and 
the arms are 13 inches thick. 

Origin: Found on the North Shore of Massachusetts in 1922. 

We have here, therefore, a framed settle or more properly settee, 
a term which is restricted to framed seats. 

The quilt is of a quaint pattern. 

No. 594. A framed settee. The wood is maple, as to the turned 
parts. The seat and panels and frame in the back are of yellow pine. 
The back sill is of oak. This piece was found in Connecticut in 1922. 
So far as it has come to our observation it is the only framed settee 
analogous to the English type. It supplies the long desired missing link, 
to go with our rare American wainscot chairs with the scrolled arm. 

Size: Length over all, 75 inches; width over all 27 inches, which 
includes the rolled end of the arms. Hight over all including extension 
of back posts, 504 inches. Width of seat 204 inches; hight of seat, 184 
inches. The square of the turned posts is 24 inches. The back posts 
are 14 inches by 24 inches. The arms are 14 inches thick. 

No. 595. A New York wagon seat. We give these seats the name 
because most of them seem to be derived from New York state, though 
they have been found in western Connecticut and Massachusetts and 
probably in northern Pennsylvania and New Jersey. They were used 
alternately as seats in market wagons, held in place by the side boards, 
and as small love seats in the dwellings. A characteristic is the middle 
post, which is made larger than the end posts. 

This specimen is from the collection of Mr. Chauncey C. Nash. 

Size: 29 inches high. The seat is 13 inches high, wagon seats always 
being lower than chair seats. The surface of the seat is 14 by 33% 
inches. A great many of these specimens have been brought into the 
market within recent years. The seats are mostly in rush, but we find 
an occasional one in splint. 

No. 596. An amusing spring wagon seat. 

Owner: Collection of George F. Ives. 


414 FURNITURE OF THE PILGRIM CENTURY 


The construction is sufficiently obvious to need no explanation, but 
we may say that ordinary wagon seats were often built with the same 
spring construction. The turnings here are very much better than we 


ordinarily see. 


No. 597. A quaint small rocker settle. The foot rest is concaved. © 


Doubtless the intention was to raise the feet from the floor for the sake 
of warmth. The settle seems to have been “built for two.” The 
immediate derivation is from New York, but we presume it is a Jersey 
or Pennsylvania piece. 

Relating to the date it might be, judging from the habits of the people 
of the region, any time in the eighteenth century. 

No. 598. New York wagon seat with spindles. In this specimen 
some effort has been made at ornamentation by setting a portion of the 
spindles on a diagonal. It will be noted that we have here an arm which 
runs over the top of the post and is connected with it by a dowel. On 
the other hand in No. 596 we have the earlier method of construction by 
which the dowel runs into the side of the post. 

Owner: Mr. Rudolph P. Pauly. 

No. 599. A cradle in oak, perhaps English. We show it here in 
order to give a progressive demonstration of the development of the 
cradle as it was found in America. 

No. 600. A pine board settle with panels. A piece of this sort 
made with two rows of panels is now considerably sought for. 

Owner: The Collection of George F. Ives. 

One notices the method of setting the little candle sconce in the center. 
The settle ends here are very high. 

Size: 64 inches long, the back is 52 inches high. The seat is 16 inches 
deep and the hight is the same. The arms are 35 inches high. 

The advantage of paneling the backs of settles was slight, so far as 
use was concerned. Paneling was somewhat more finished but entirely 
unnecessary. Of course, when found paneled, as here, they are succes- 
sors of the English tradition of oak paneling. 

We do not seem to find cushions for settles, but no doubt they were 
sometimes used. The seats are never shaped, and therefore are rather 
uncomfortable. Usually the seat was hinged when the settle was boxed 
in below. In this case the base was used, sometimes for a wood box, 
as the piece was kept near the fire, or sometimes for a grain chest. In- 
deed, the development of the settle from the chest is obvious. 

No. 601-602. This is the only example that we happen to have seen 
of a built in settle. It is in a seventeenth century house in Wrentham, 
and has a single end only. It is set back over the sill of the house and 


ae se ae ee eee oe 








556. Joinr Sroo. wirH Drawer. 1680-1700. 





557-566. CanpLEs AND Lamps. 


— 


568. 





567. Winosor High Cuarr. 1720. 


Unusuat Piet Tones. 


18th Century. 





iti ie aac NA aaa TDD Na 


569. Hic SrrercHEeR Squas. 1680-1700. 





570-571. 


Joint Sroors. 


1660-1700. 





| 
1 
j 
| 
4 
| 
oe] 








572. ScroLy STRETCHER Day Bep. 1680-1700. 





573. Aru Turnep Day Bep. 1690-1700. 


FURNITURE OF THE PILGRIM CENTURY 419 


the sheathed paneling of the outside wall forms the back. It is quaint 
and small and most interesting. The door handles and latches here 
shown are original on the house and are of wood. We know no reason 
why we may not consider the settle as contemporaneous with the house. 

No. 603. A large pine paneled settle, the property of the Rhode 
Island School of Design. The knob-like terminals of the scrolled end 
boards are interesting. Also one should notice that there is a board laid 
over the back at the top in the form of a hood. Of course the object was 
to keep off the wind, as these pieces were drawn up before the great fire- 
places. There was a frost line on the floor in bitter weather, as referred 
to in Whittier’s “Snowbound.” In these settles the back board behind 
the seat usually ran to the floor to stop the movement of cold air. In 
many cases the end board was not scrolled as here but was made solid 
for purposes of protection against cold. 

If we consider the settle in its modern use we feel that it interferes 
with the unity of the house, as it cuts off the view of the fireplace. It 
shuts the fireplace away from the rest of the room. Therefore, in the 
arrangement of a settle in an old house it is better to place it on the side 
wall at right angles with the fireplace. 

The Rhode Island School of Design possesses a second settle very 
similar to this. 

Size: 74 inches long, 534 inches high, and 20 inches deep. 


CRADLES 


We DO not know when or where the cradle originated. We regret 
its discontinuance as an article of household furniture, because 
about it is enshrined so much of sentiment. After all is said and done, 
the sentiment in relation to antique furniture is, to us, at least, a great 
part of its charm. It is said that cradles are not good for the health of 
a child. Happily, we do not have to pass on that subject. The hand 
that rocked the cradle now places the child in a bed or crib, theoretically; 
but practically, most mothers put their children in baby carriages, to do 
duty instead of cradles. 

There is an interesting question as to the origin of the rocking chair. 
An Englishman told the author that his mother had bounced back and 
forth with him in her arms, on a flat-bottomed chair, until she had worn 
the base into a roughly rounded form. This is a very amusing sidelight 
upon the lack of rockers in England. It raises the question whether or 
not rockers in this country may not have come in about the time that 
cradles began to go out. It may be that their original use was to carry 
out the idea that the English mother was working out so blindly. At 
any rate, the cradle was not rocked with the hand, as the politicians would 
tell us, but by the foot, so that the hands might be available for knitting 
or mending. In practice, of course, the cradle would be for the most 
part rocked by an older child. 

We do not often find cribs in the earliest American period. In fact, 
no such article has come to our attention. We may safely assume that 
the cradle or the trundle bed served instead of cribs. The cradle was a 
necessity in the home room, or the fire room, because there was not room 
in it for a bed, and there, was no heat in the bedroom. ‘The child must 
be under the mother’s eye and in a comfortable place. We have seen 
cradles which bore at the foot the mark of heat blisters from the effect 
of the fire. 

The hearth really became the sacred spot in our ancestral history. 
The baby was born by the hearth, was rocked there, and later crept about 
it, and got his first lessons in chemistry and poetry by watching the 
blaze. At a later period, it was at the hearth that his education began, 
as he stood between, or sat upon, his grandfather’s knees, and heard the 
tales of long ago. here, also, he conned his horn book, or read of 
Bunyan’s Pilgrim, by the light of pine knots. At the hearth, as a youth, 


420 











oe 


ainsi ail ai i ews 


7 
ee 


577. Day Ben, BanisTER Heap. 1690-1710. 


579: 





Bie es ein li 


i EOD SSE 


578. Turnep Day Bep. 1690-1710. 


AA I ae a 8 Ne a ne ere a eel tate newt ny ae = 


eo in we 





TurRNED AND SpanisH Foor Day Brp. 1690-1710. 





580. Unusuarty Turnep Day Bep. 1690-1710. 





581. A Six Leccep Dutcn Day Bev. 1700-1710. 





582. Dousie SrreTcHEeR Day Bep. 1690-1710. 





583. Prnnsytvania Day BeEp. 1710-30. 


FURNITURE OF THE PILGRIM CENTURY 425 


he held his sweetheart’s hand. Here he was married. Here, surrounded 
by his children, he passed the evenings of his middle age. Here, as an 
ancient, he sat in the chimney corner, in the cool days of the early fall 
and late spring, and warmed his hands at the small fire kept up for his 
comfort; and here he passed on to his fathers. 

The cradle, the beginning of the seven ages of man, is, therefore, for 
us Americans, an object of no little interest. Nevertheless, the mahogany 
or light maple cradle, which is found in almost every attic, is scorned by 
the collector, because it is not ancient nor rare enough to attract us, nor is 
‘t wanted about under foot. A use, indeed, has been found for it of 
late. We notice in a great many households where antique furniture is 
used, that the cradle has become the woodbox for the fireplace. 

Of course, in this volume, we confine ourselves to the very early 
examples which are either so ancient or so good in themselves as to be 
highly regarded. 

No. 604. A walnut cradle, originating in Pennsylvania. It has a 
scrolled head and foot board, with a heart-shaped hand hold for lifting 
about. ‘There is also a scrolled bracket at the head board. The piece is 
framed, having large corner posts ending in rude balls. One notices 
the knobs at the side, which were used to button down the coverlet. In 
Pennsylvania, cradles were used to a date later, probably, than in New 
England. We do not know, when we reach Pennsylvania, that someone 
may not be making furniture as his first great-grandsire did at the time 
of the settlement. They love the old ways even more than the people 
of Connecticut. It is safe, however, to place a cradle of this sort in the 
eighteenth century, with the caution that similar cradles may have been 
made much later. 

It is apparent that the sides of this cradle are raked, that is, splayed. 
We shall see later that the very earliest cradles had vertical sides. 

No. 605. A cradle with a gallery and with spindles at the sides of 
the hood. 

Owner: The Rhode Island School of Design. 

This cradle is remarkable in having a fascinating low gallery around 
the sides and the foot. It terminates near the hood against brackets. 
The balls of this cradle are in excellent condition. It requires slight 
attention to see that cradles of this sort were made after the analogy of 
the chest. It has its panels, its corner posts, and its channel molds on the 
rails and stiles. This cradle probably had some sort of a cap to its hood. 
In the uncertainty as to its precise form, however, it is better to leave 
it as it is. It is said to have been found near Abington, Massachusetts, 
about 1920. Its sides are vertical. 


426 FURNITURE OF THE PILGRIM CENTURY 


No. 606. A flax breaker, such as was used in the seventeenth, eight- 
eenth, and probably the beginning of the nineteenth century. The flax 
was placed in the form in which it came from the field, under the huge 
wooden maul, which by repeated blows disintegrated the stem into fibres, 
until, through the use of the hatchel, it was at last reduced to a sufficiently 
fine condition to be spun. 

No. 607. The Dr. Samuel Fuller cradle. Although no lives have 
yet been lost in battles around this cradle, it has excited so much interest 
and controversy as to be a kind of monument among antiques. It was 
through one of the Alden family that the author was referred to the 
Cushman family, related to the Aldens, as the owners of this cradle. The 
Cushmans inherited it through intermarriage with the Fullers. There is 
an unbroken tradition that it came from Dr. Samuel Fuller of the May- 
flower. So far, the tradition seems thoroughly credible, because the 
manifest age of the piece should take it back to 1650 at least. 

The tradition then goes on to say that Peregrine White was rocked in 
this cradle on the Mayflower. As Peregrine is also said to have been 
rocked in a wicker cradle now in Pilgrim Hall, Plymouth, and even is, 
by some, said to have been rocked in the cradle in a glass case in that 
hall, we must conclude, if any of these tales are true, that Peregrine was, 
to use a Southern phrase, the rockingest child, as well as the first white 
child born in New England. First he was rocked in the cradle of the 
deep, and being born in Provincetown Harbor, was supposed to have been 
rocked in the cradle here shown, since it was handily available in the 
lading of the Mayflower, whereas the wicker cradle was hard to peliat: 
It was, of course, presumed that the arrival in America would long precede 
the birth of the child. 

An artist who has painted one of the large Pilgrim pictures at the 
Hall has shown one of the Pilgrim fathers wrestling with a cradle as 
he gets it aboard the Mayflower. We use the word “ wrestle ” advisedly, 
because, as a friend of ours said, with a sardonic grin, the cradle is large . 
enough to rock a bull calf in. However that may be, the cradle is 
purely American. Its side panels are all pine, though its end panels are 
all American oak, and of course, also, the frame. The hood, however, 
is of pine. It is notch carved on the ends, and molded on the front and 
back, and a border is scratch carved in a diamond pattern. This is one of 
the important features of the cradle, since so many ancient examples have 
lost the cap board of the hood. 

A second feature of great importance, and possibly marking unique- 
ness in American cradles, is the carrying of the gallery around three sides 
of the hood. The gallery at the back is composed of short spindles. The 





584. PrennsytvantA Day Bep. 1710-30. 





[teste 2 Races 


585. Country Mave Day Bep. 1710-40. 





586. Fremish Coucu. 1680-1700. 





587-588. CuiLp’s SETTLE AND Winc Cuair. 1730-80. 


= 
£ 


- 


copnengteng a ne 


589. 


SmaL. Pine SETTLE, ScROLLED Enp. 





590. Mrner’s Licut. 





1730-80. 











591-592. Srrrte Bep Mave Up. 1710-40. 





593. Serrte Bep CuosEp. 1710-40. 


FURNITURE OF THE PILGRIM CENTURY 431 


supposed purpose of the gallery was to allow the mother a peep at the 
child from whatever angle she viewed the cradle. The turnings of the 
spindles are practically identical with those found on the earlier Carver 
chairs. 

A third item of great interest is the split spindle, not so rare on the 
inside of the gallery opening, attached to the frame; but unique, up to 
the time of the present writing, as attached in the form of a long, specially 
turned drop or split spindle on the front of the hood. The sides of the 
cradle are vertical, and it is very deep. The stiles and the rails are 
strongly cut in channel molds and double pinned. There is a chamfer 
around the panels. In fact, what we have here is really a chest in which 
a hood is substituted for a lid; that is to say, the chest construction is 
modified sufficiently to form a cradle. The projecting foot-posts are in 
the earliest form of turning. The cradle has never been painted. An 
interesting feature is observed here in relation to the quartering of the 
oak of the frame. Those portions which are featured show dark. In 
a piece that is finished by shellac or varnish, they show light, as compared 
with the rest of the wood. 

Of course the cradle was made in America, and in Plymouth, but 
whether by John Alden or Kenelm Winslow, we, of course, do not 
know. An amusing fact in relation to this cradle is that there is now 
being sold in Plymouth, as has been the case for many years, a picture of 
the cradle as being the one now in Pilgrim Hall under the glass case. 
We are assured by a lady who was rocked in this cradle as an infant, as 
have been every one of her American ancestors, that she knows absolutely 
the whereabouts of the cradle during her life, and that it has never been 
in Pilgrim Hall. Certainly it is quite unlike the example now there, 
which is not a paneled cradle. On it thin strips of maple or beech are 
applied and nailed to form false panels on the pine boards beneath. One 
of these strips at the foot has become detached, and the observer can 
plainly see the discoloration of the wood where it once was. The old 
stories indicate how cursory and uncritical, and in many cases, really un- 
truthful, matters connected with antique furniture can be. 

The cradle in Pilgrim Hall has very pretty spindle work over the 
head, instead of a cap for the hood. In that particular it is important. 
It is also, doubtless, important for a historical reason in connection with 
another branch of the Fuller family. 

Our Samuel Fuller cradle is a most satisfactory specimen, from the 
mellow and worn condition of the wood, and from its Pilgrim origin, and 
especially from its intrinsic merit. 

A number of years since, the author replaced the missing rockers with 


432 FURNITURE OF THE PILGRIM CENTURY 


oak cut from the face of an exposed beam in the Marsh House, Wethers- 
field, the oldest house in town. This oak is of precisely the same color 
and consistency as the rest of the cradle, so that, unless one points out the 
inner surfaces of these rockers, it is hard to persuade even a critic that 
they are not original. 

Size: The square of the posts is 24 inches. The cradle is 345 inches 
long, 33 inches high, and 194 inches wide. These dimensions do not 
include the side extensions of the rockers. 

Nos. 608-611. A picture showing an early eighteenth century room. 
The bed is of the second period, when the hangings were still retained at 
the head, but were reduced at the sides and the foot merely to an upper 
and a lower valance. 

The quaint little child’s chair before the fireplace is worthy of atten- 
tion. ‘The chair nearest the bed has its back posts running up above the 
main frame of the back section, as is the fashion in Spanish chairs. Hence 
this chair is not otherwise shown. A quaint little looking glass on the 
wall has a leather frame. 

No. 612. A cradle in maple, swinging on posts. This quaint and 
odd device is sometimes seen on later mahogany cradles, as in one beau- 
tiful specimen at the Essex Institute, Salem. In the cruder form here 
exhibited we have the shoe, or base, run crosswise at the ends below the 
posts, and a longitudinal stretcher on the floor. The cradle swings on 
heavy wooden pins. We are at a loss here, as usual, about dates, and 
even more than usual. The piece is absolutely in the rough. 

No. 613. A cradle of Pennsylvania origin, with stenciled discs and 
other decorations. One quaint feature here is also the roping of the 
bottom. We have seen a chair similarly roped. The method is precisely 
like that used in beds. The stenciling is similar in design to that found 
on a few small boxes of pine, on one or two “ Bible” boxes, and, on a 
larger scale, on the barn decorations of eastern Pennsylvania, which are 
to be considerably elaborated in the author’s “ Pennsylvania Beautiful.” 

No. 614. An oak cradle with raised panels. The ends of the raised 
portions of the panels are gouge carved, whereas their sides are hand- 
somely molded. This is a detail we have not previously noted in antique 
furniture, and we have not yet been able to learn whether similar examples 
are found abroad. The heavy channel molds or beads on this piece, and 
the general system of construction, together with the tall foot posts, as 
purely Gothic as if they were made in the thirteenth century, are features 
of much interest. These foot posts are in what is called the square turn- 
ing; that is, the maker did not have a lathe, and he contoured the sides 
of the square of the post so that it should agree with the outline of a 





594. Framep Mapie anv Pine SETTEE. 1720-30. 





595. New York Wacon Sear. 18th anp 1gth CENTURIES. 





596. Sprinc Wacon Seat. 18th anv 19th CenrurIEs. 





597. OrictnaL Rocker SETTLE. 


FURNITURE OF THE PILGRIM CENTURY 435 


turning. The hood of this cradle is somewhat of a puzzle, as we presume 
it once had a cap, it being cut on the paneled end in the form of a gable. 
There are a few tacks in the edge of this gable, but-no other marks to 
hint at any attachment of wood. ‘The rockers are neither original, nor 
are they placed in the proper position. Undoubtedly the posts were ex- 
tended in the form of legs, and were then bifurcated to receive rockers. 
We speak thus positively in spite of the appearance of the example to 
follow. 

The cradle is said to have come from Wethersfield, Connecticut, and 
to date from the time of its settlement, but we have no reliable data. 
It was bought in Worcester, in 1923. 

Size: The posts are 2% inches by 1% inches. It is 384 inches long, 
30 inches high, and 164 inches wide. 

No. 615. A cradle, presumably in beech. It is composed of true 
panels, which are interesting in the construction about the head, formed 
like five sides of an octagon. The cradle belongs to the Plant family, 
from the Mill Plain district of the town of Branford, Connecticut, where 
it is on exhibition in the public library. It has been traced to Jonathan 
Barker, born 1705. ‘The sides are not quite vertical. The condition is 
somewhat dilapidated. The rockers seem not to be original. It will be 
seen, however, that the head and foot posts are turned in the same 
pattern, and that the head posts, unlike previous examples we have shown, 
extend above the frame. Of course, this is owing to the manner in which 
the cap of the hood is attached. The extended and turned posts at the 
head, however, are a feature of still earlier English cradles. 


BEDS 


We HAVE in America no great elaborately turned high posters, such 
as were found in England at the time of the American settlement. We 
have records of such beds being ordered from England. Such importa- 
tions of an ancient period have disappeared. Of course they lack wholly 
the American feeling, and as we can see such beds in England, the loss 
is not as great as it might seem at first. 

The earliest beds known in America are simple as regards their posts. 
They are always square in the earliest examples, below the bed rail. 
Above that rail they may be either square, octagonal or turned, but the 
turned specimens may be later than the other forms. In every instance 
the posts taper, and are small. In the square at the frame, the most 
usual dimension is 24 inches. We have never seen it exceed 2# inches 
on very ancient beds. This dimension continues to the floor without 
change. Beds turned below the frame are more likely to be of the 
nineteenth century, especially if the posts are heavy. The Sheraton type, 
indeed, and sometimes the Hepplewhite, have turned legs. In our period, 
however, we have not noted an exception to the general rules above. Any 
delicacy of turning, or any urn turning, means an approach to the end of 
the eighteenth century. The continuation of a large post to a point near 
the top is always late and poor, whether it be carved or not. 

At the same time it is wholly impossible to assign the plain bed to a 
date anywhere nearly exact. This arises from the fact that it was in a 
manner styleless and continued, probably, from 1670 even through the 
eighteenth century, with practically no change except some slight marks 
such as we have already mentioned, regarding bolts, etc. 

Of course the purpose of the tester and curtains was a double one — 
to secure privacy, and to shut out drafts. Some of the ancient houses, 
being the homes of large families, required more than one bed in a 
room. Indeed, attics, to which the children or the hired men were often 
consigned, were known not infrequently to have four, and sometimes six 
beds. It was regarded as effeminate to heat a bedroom for people in 
health, though for guests or elderly persons the fireplace, almost invari- 
ably found small in bedrooms, might be used. It scarcely raised the 
temperature above freezing. As fashions changed, first the side and foot 
curtains, and finally the whole top, were dispensed with. In the effort to 

436 


598. 


New York SEAT WITH 


599. Oak Crab _e. 





SPINDLES. 








1710-50. 


Ten Paneu Pine SETTLE. 


600. 





Buitt-1n SETTLE. 


601-602. 


sesgapcec 


604. 





603. TEN PaneL SETTLE. 1730-80. 


Watnut PENNSYLVANIA SCROLLED CRADLE. 





18th Century. 


606. 





605. CrapLE wiTH GALLERY. 1680-1700. 


Fiax BREAKER. 


18th anv 19th 





CENTURIES. 


J Saige al aicedie feet ne ih Ae Eien RL, 


FURNITURE OF THE PILGRIM CENTURY 441 


ape, rather than to imitate, the ancient fashions, modern beds are put on 
the market with high posts, but without canopies. This is a makeshift 
which can scarcely be justified either in logic or taste. If persons desire 
to have the really ancient beds with canopies, they may omit the lining 
below the fish-net stitch, and secure a circulation of the air, so that they 
may still have the old fashion without transgressing sanitary demands. 

Some of the old canopies were composed of very rich work, so that 
the inheritance of a bed, by a special clause in a will, was counted an honor. 
The bed, with its furniture, a phrase which included everything aside from 
the woodwork, was the most considerable object of value in the home, 
even exceeding that of a cupboard. 

Nos. 616-618. A four-poster bed formerly in the Hazen house, 
Haverhill. All the parts of these hangings and the canopy were beauti- 
fully laundered and laid away in a box when the bed was purchased. The 
tester proper was attached on its four sides by laths like old curtain 
sticks pushed through the open-ended wide hem, and then tautened by 
straining them over the iron pegs of the tops of the posts. 

One sees the trundle-bed head at the foot of the large bed. On the 
right, in the rear, is a quaint early high chair, and on the left a good New 
England slat-back. 

Why beds are called four-posters is one of the unsolved mysteries, 
since we can scarcely conceive of beds being constructed without four posts. 
Perhaps those who gave the name thought of a post only as a high post, 
and if it was short, called it merely a leg. It is necessary, however, to 
run one’s forehead against one of these posts in the night, fully to appre- 
ciate the name. 

Of course the only object of the high post was to attach thereto the 
curtains. In the case of the bed before us, these curtains were held up 
by strings running from the posts and caught at the centre of the tester 
in rings. The ordinary method was to tack the curtain to the side lath. 

No. 619. A jointed bed, otherwise called a press bed or a slaw bed. 
These beds were intended to have their heads set in a shallow closet, with 
two large doors. The bed in the day time was thrown up on the joints 
of the secondary set of legs, and the doors were closed. The bed is 
shown without furniture, in order to give an idea of this method of use. 

There is an amusing sameness between the needs of the present gener- 
ation and those of the first generation, in respect to scanty house room. 
Our remote ancestors, as the family grew large, were hard put to it to 
provide room for all. Hence we have the scheme of the trundle bed, 
the settle bed, the press bed, the trestle board, the trammel lamp, the chair 


442 FURNITURE OF THE PILGRIM CENTURY 


table, and various other devices to accommodate many people in a small 
space. 

In fixing the dates of beds it will be observed that in the earlier styles 
there were no bolts used at the corners, but that the frame was held 
together merely by the tension of the bed cord. There are two tools, a 
straining wrench and a special wedge, together, of course, with a mallet, 
that are used in cording a bed. It is necessary, in case of a new rope 
especially, to increase the tension of a bed after a few days. 

Another detail to be noticed is that the makers sometimes cut a groove 
into which the rope sank between holes. We are not clear whether this 
was an improvement or an original plan. 

Small beds with low posts got the name “hired men’s beds.” ‘They 
were the sort commonly in use for the small chambers. 

No. 620-624. A low post bed with a double arch in the headboard, 
to indicate where grandpa and grandma should sleep. There is also a 
trundle bed, but without a head. The woven spread shown on the 
trundle bed seems to have been a great favorite. Multitudes of these 
spreads still exist, blue being perhaps most preferred. 

The bird cage in the remote background is of wicker work, such as 
was commonly employed in the old days. On the right wall are hanging 
rope shelves. 

No. 625. A trundle bed with a paneled head. Owing to the heavy 
bar across the head, we consider this an early specimen, but the side bars 
above the main rails are missing. 

No. 626. A bed unique in our experience, sharing in its interest with 
the settle bed previously shown. Here we have true settle ends, with ogee 
contours at the feet, but the back of the settle is elongated into high 
posts. The bed frame hinges on the front of the end boards. When the 
bed, therefore, is lifted up, as here shown, the counterpane is drawn down 
over it to cover it. We have purposely exposed the scroll of the settle 
end to show the arm. The bed is painted blue. It was bought in 
Worcester in 1923. We know nothing whatever of its age. It is obvious 
however, from the method of construction, that it was not to be set in 
a press but to stand free in a room. Of course it could not be used as a 
settle. At the same time, it is a quaint conceit, and when made up for 
the night, is of somewhat pleasing outline. At the top there is a shallow 
frame sustained by a diagonal strut, forming a bracket on each post, over 
which the coverlet is drawn down. 

No. 627. A famous bed, now in the York jail, the Museum in the 
town of that name in Maine. It is one of the few examples shown in 
other works. The crewel work and the colors are very rich, especially 


FURNITURE OF THE PILGRIM CENTURY 443 


the greens and reds. The counterpane and valance are a part of the same 
work, with uniform colorings, done, of course, on old linen. 

A feature giving much flavor to this bed is the use of texts or poems 
in crewel work, around the upper valance. The sentiments are such as 
might appear on samplers. 

We are glad to present so clear a picture of this ancient piece, which 
dates from 1745. At the jail various details regarding the bed and its 
donor are preserved. We are especially glad of the existence of this 
beautiful example, because it forms a connecting link with the stately 
beds of the sixteenth century. 

Nos. 628-633. On the left is the only American oak high poster 
that has come to our attention, or to that of our friends. It was found 
in the attic of the Webb House, Wethersfield. Mr. Welles, who owned 
the house, when a boy sawed off one of the posts as a ball bat. Aside 
from that, the bed is in its original condition, and is an amusing instance 
of the persistence of the Connecticut taste for oak. The posts rise in a 
perfectly plain taper, and the bed is held together by cording only. When 
this bed was on the market some years since, the general public entirely 
overlooked its importance. 

In the same picture appears a wing chair made in precisely the same 
fashion as a settle, except that it has a single seat. It is of pine, and 
covered with figured cotton goods. The chair before the fireplace is of 
an early turned type. The chair at the left is of the Dutch turned style, 
with a kind of stump foot, somewhat later than our period. Of course 
the Windsor chair and the stand do not come into our view, but the 
braided rug and the rag rug go back to a period the beginning of which 
we are unable to trace. 

Nos. 634-636. Sets of andirons from the George W. Ives Collec- 
tion. The Hessian andirons are reversed. We are informed that if the 
backs are hollow, the andirons are not very early, and that the original 
Hessian or other cast type was puddled iron; that is to say, the iron was 
poured into an open mold and filled in on the back. The Washington 
andirons on the other side are of interest. The middle pair are odd in 
respect to the so-called square turnings with which the flat members of the 
posts are tipped. 

Nos. 637-639. A high-post bed in which the posts are made in two 
sections, the upper part doweling into the lower part, and made detach- 
able. The upper sections are called poles. It is possible that the phrase 
“tent bed,” usually describing a round topped bed such as we shall 
presently show, had some connection with the phrase “ bed pole.” It is 
to be seen here that this bed is turned near the foot. Its other ornamental 


444 FURNITURE OF THE PILGRIM CENTURY 


details indicate a late date, but the canopy in blue peacocks is very inter- 
esting and rather early. 

The scrolled-leg chair immediately in front of the lady standing is 
a good example, as is also the Spanish foot fiddle back chair in the imme- 
diate foreground on the right. The ram’s horn arms on this chair surpass, 
in the way of carving, any others we have seen, in respect to the spiraled 
terminals of the horns. 


No. 640-642. A bed with its original canopy of linen. The method 


of draping the bed, by the use of cords attached to the laths running 
around the frame, is seen here, also the fashion of attaching the fringe 
both to the upper valance and to the curtains. The quaint stool at the 
foot is of the earliest Windsor pattern. 

No. 643-645. It would seem that the pudding stick here should be 
enshrined as a kind of fetish with the Harvard Hasty Pudding Club. 
The design was worked out in wood probably in imitation of an iron 
design. The rolling pin in its early form was turned. with a knob at one 
end only. The wooden spoon was common for mixing purposes, as now. 

No. 646-649. A folding or jointed six-legged bed, in the George 
F, Ives Collection. The bracketed head or canopy is quite like that in 
No. 626. It is designed, as in that case, to hold a screen or coverlet for 
daytime use, and to be drawn down over the bottom of the bed, whose 
legs at the foot were jointed if long, or otherwise could shut without 
folding inside the canopy. A peculiarity of this bed is that there is a 
jointed frame at the head with a shoe or bottom member connecting the 
main posts with the secondary set of posts. Further, there was a drawer 
in this section for bedding. Of course it was available only when the 
bed was closed, as in the daytime. 

We have seen another very handsome bed, something of this sort, in 
Woodbury, Connecticut. There is also a very pleasing specimen in the 
rooms of the Dartmouth Historical Society in New Bedford. 

The clock at the left is a so called wag-on-the-wall, most of which were 
imported. It is said that the little chest at the foot of the bed was often 
used for the extra bedding. The candle stand of wood on straddling 
legs is a dateless and sometimes styleless article which is nevertheless much 
sought for. 

No. 650-653. A bed in the dwelling in Duxbury, said to have been 
built by the grandson of John Alden, In this house, though not in this 
room, but in the bedroom off the kitchen, it is said that John and Priscilla 
passed the last thirteen years of their life. It is probable that John Alden 
assisted, by his hand or by his brain, in the framing of this house, supposed 
to have been built about 1653. Alden was at this time about fifty-three 


3 
a 
‘ 
R 
| 








1620-50 


SAMUEL FULLER CRADLE. 





SLENDER Post Bev. 18th CEeNnTuRY. 


608-611. 


“ 





ALI LET EE ALOT BITTE 





612. SusPENDED CrapLe. 18th Crenrury. 


PENNSYLVANIA DeEcoRATED CRADLE. 





18th CenruryY. 


614. 





Oax CrapLE, Goucep CarveD Panes. 1635-50. 


615. PaneLeD Hoop Crap te. 





1680-1710. 





616-618. Canopiep BED AND TRrRuUNDLE Bep. 18th CEenrTurY. 





619. Forpinc Press Bev. 18th CenrTury. 


FURNITURE OF THE PILGRIM CENTURY 449 


years of age. The massive character of the framing and the gun-stock 
post are shown in the corner through the bed. The bed has upon it a 
counterpane of the drawn-in candle-wick design, all in white and now so 
rare. The figures here are not as elaborate as are frequently found. The 
floral pattern is the most highly thought of. A stool of early but un- 
certain date and a banister back turned chair, hooked rugs and a braided 
rug form the remainder of the furniture. 

This house is being honorably treated by a Mr. Charles Alden, who 
has a long lease of it. He is attempting to restore it absolutely on the 
lines of the original design, and deserves much credit for the wholly new 
plenishing which’ he is providing from time to time, as he is able to find 
suitable examples. 

No. 654. A high-post bed in which the chamfering of the posts is 
quite evident. 

Owner: The George F. Ives Collection. 

The plainness of the posts in ancient beds is justified by the fact that 
they are shut in by the curtains. As they were not visible, there was no 
special reason for working the wood into decorative forms. 

In this connection an amusing instance is that of a buyer of an old 
bed, who indignantly returned it to the seller on the ground that the 
head posts were plain, and that he would not bear having put off on him a 
spurious article. The bed was all original. The foot posts were turned, 
as was the custom in the second period, because they were to be visible. 
The head posts, on the other hand, being draped, were left plainly octag- 
onal. The bed concerning which the buyer complained was far more 
valuable, because earlier, than it would have been had all the posts been 
alike. 


CHAIR TABLES 


Tue chair table, sometimes called when the box is too high to sit upon, 
a hutch table, is in its best forms a very interesting and important article 
of furniture. It does not, however, in simple designs seem to appeal 
strongly to American collectors. It is one of the instances in which 
fashion has played some part. We show several very important examples. 
These chair tables were quite common on the New England coast. The 
appeal to our ancestors of economy in space made chair tables popular, 
as of course the purpose was to place them against the wall when they 
were not being used as tables. The oldest specimens have oak frames, 
but for the most part the frames were maple, or the pieces are mere six- 
board chests on legs, with table tops of maple or pine. 

No. 655. An interesting oval top hutch table in the George F. 
Ives Collection. The meritorious points are the ogee scrolls on both 
faces of the legs, and the shoe and stretcher on which they rest. It 
will be observed that the board which forms the side of the hutch is 
made on the ends in the form of a single large dovetail, and that there 
is a lid to the hutch. The cleat, otherwise called a batten, which 
attaches the parts of the top together, is scrolled so that when the table 
is used as a chair a decorative feature may appear. 

The word “ hutch ” is not precise in its applications, and has a more 
general use in England than in America. Even a hutch such as is 
shown here could be used as a seat with the help of a stool. 

No. 656. A remarkable chair table said to have been found in New 
Jersey. It is of oak, and the top, shown in 657, is scrolled or con- 
toured or shaped, phrases loosely used to denote the same thing, and 
finished with a thumb-nail mold. The turnings resemble those on two 
examples of stretcher desks which we have shown, and suggest the Wil- 
liam and Mary period. The especial object of importance in this piece 
is the scrolled X stretcher, a feature we have not elsewhere seen in 
American chair tables. This example was sold to a museum. It is said 
that when it was uncrated the finial was missing, and that the piece was 
therefore rejected. It is all original except the finial, which was con- 
structed by the use of the photograph which showed it before the original 
finial was lost. The drawer closes flush. The seat is molded like the 
top. The feet are of the heavy ball type as shown later in a court cup- 

450 





620-624. Low, Douste Arcuep Heap Bep anp Trunpe Ben. 


=y 





AAMAS AD 


ARENT AEN NS IRN 





625. PaneLep Heap TrunpbLe Bep. 18th Cenrury. 





626. Srtrrite Enp Foupinc Bep. 18th Century. 


FURNITURE OF THE PILGRIM CENTURY 453 


board table. It will be noted that the tops of these chair tables are 
attached with large turned pins, similar to those in the Pennsylvania 
library tables. The large turnings and the ogee scroll on the skirt or 
valance provide the finishing touches on a piece of the highest interest. 
We have not been able to make out the abbreviated legend on the under 
side of the leaf. Certainly the date is not, as it might appear to be, 1777. 

Nos. 658-664. On the left there is a hutch table with a shoe prettily 
scrolled in the ogee pattern. In the foreground there is a child’s wing 
chair of pine. The back is unusually high and quaint. At the right is 
a maple chair table with a square oak frame and a drawer, an unusual 
specimen. In the rear there is a cupboard with a drawer paneled from a 
solid. In the right foreground is an arch slat back chair of the Pennsyl- 
vania type. 

This room is one of two which we have seen showing openly the great 
braces of the frame at the chimney girt. The method of hanging a 
lantern in the kitchen, as we know was frequently done, is also illustrated. 

No. 665. An all pine American Gothic chair table with curved panels 
in the frame. This piece, which belonged to the author’s former col- 
lection, he found in the hands of a small dealer in Freeport, Maine. A 
most astonishing cleat, in the true Gothic pierced form, runs across the top 
in the dovetailed conventional slot, to prevent warp, and also to avoid 
the necessity of nailing. 

The piece stands upon shoes and the curvature of the panels is obvious. 
There is a lifting seat. We have never seen another piece of this character, 
and regard it very highly. 

No. 666. A room in the Hazen Garrison house, with many objects 
appropriate to the date, 1690. A little wing chair, a butterfly table, a 
straddling high chair, a scrolled pine cradle, a hornbeam barrel, and other 
features appear. 

No. 671. A chair table of the more usual type such as is found in 
eastern New England. This specimen has gouge carving at the ends 
of the shoes. 

No. 672. A rack formed like a cone. It is designed to hang dipped 
candles and its construction, it being a homemade affair, is obvious. It 
is the property of Mrs. De Witt Howe. 


TABLES 


P ERSONS who have ever camped will have learned the genesis of a 
table. Some sort of trestle is provided and a board is placed on it. 
Here, then, is the table as it was used for many ages. Ina Greek dwell- 
ing of the higher character the table was thus brought to the banqueting 
apartment and then removed after a meal. 

Leonardo Da Vinci’s celebrated “ Last Supper ” shows a board on a 
trestle of carved shape, but precisely like the ordinary carpenter’s horse 
as to main outlines. The last table known in the Middle Ages was a 
trestle-board. Early American inventories mention such boards in con- 
siderable numbers. They are found in ancient homes in England today. 
Mr. Bolles found the first one in America at a time when he was probably 
one of a very small number who would know what it was that he had 
found. The story of his discovery of it, in an attic where it was necessary 
to remove some of the structural features to get it out, is one of the 
epics of collecting. 

In the third chapter of Ivanhoe one reads how the servants came in 
and removed the trestle board after a meal. Our ancestors did not feel 
any special need of fixing the table’s top permanently in position, and 
this is not to be wondered at. With large families it was a convenience 
to have the long board removed. Of course the trestle-board necessitated 
a narrow table. The presumption is that the service was from one side, 
and that the diners did not sit facing one another. The ends of the table 
were occupied by joint stools, one at each end. 

Tables in a fixed form indicate a civilization which has come to a quiet 
period and believes in stability. A very large table means a great house, 
with large doors. The first and principal use of tables was for dining. 
They undoubtedly derive their form from the long tables in the refec- 
tories of monasteries. The tables were placed in the parlors as places 
where conversation was allowed. The long board then adopted in the 
halls of nobles was required for the great number of retainers. The 
family of the lord would perhaps have such a table on the dais or raised 
platform at the end of the hall, at which his family and dependents or 
guests would sit. His men-at-arms and servants would occupy one or 
more trestle-boards in the body of the hall. The word “board” is of 
sufficient explanation of the origin of the table and of our common phrase 

454 





627. Canopiep Bep wirH CreweLworxk. 18th Cenrury. 





628-633. An Unique American Hicu Poster. 17th or 18th CENTURY. 





634-636. Hessian, SquARE FintaL AND WasHINGTON ANDIRONS. 





SecTionAL Posts. 19th CEenTuRY. 


Canopiep Bep, 


637-639. 





643-645. Hasry Puppine Stick, Spoon aNp Rotuer. 18th CEnTurRy. 


FURNITURE OF THE PILGRIM CENTURY 459 


“board by the day,” and analogous terms. The ancient legal phrase 
“bed and board ” is also referable to the same origin. 

The word “table ” is pure Latin in origin, and thus etymology en- 
forces the fact of the foreign origin of the table itself. We often forget 
that the majority of people on earth need no tables. They sit on the 
floor. A table, therefore, is not the earliest article of furniture, and it 
naturally comes under the last great division of our book. 

The first table designed as a fixture was called a standing table, and 
was so described in the old inventories. With its great bulbous legs, 
elaborately turned or carved, it was a ponderous and obvious article in 
the homes of the wealthy. 

As far as we know, none of the great foreign bulbous tables of ancient 
time is found here. If any such existed in America they have gone the 
way of the huge beds. The larger an object of furniture, the less likely 
was it to be imported. The abundance of woods in America stimulated 
American manufacture and gave freedom to American design. Great tables 
were precisely what a new country could not afford to import. 

It is a curious mark of growth that the first standing tables that we 
know in this country were made with removable tops. The posts were 
prolonged, either wholly or in the form of tenons to engage in mortises 
in the top, which could be lifted off. It was thus convenient to move 
a table in two parts from one room to another, as the early doors were 
rather narrow and low. 

The table affords rather meagre space for carving. We do not know 
of an instance of a table leg carved in America. A table frame with much 
decoration would have interfered with the knees. The table frame was 
further more or less masked by the overhang of the top, so that it was 
not a place to encourage carving. 

Undoubtedly the introduction of tables with leaves follows naturally 
from a desire to secure substantially the same results as by the use of a 
trestle-board, but with less trouble. Thus the gate-legs and the chair 
tables came in. 

Some of the gate-leg tables are intricate and huge, and found in 
England. The author remembers, when he was a boy, it was the custom 
in country houses, everywhere to drop the leaves of the dining table, and 
to set it against the wall between meals. There was no possible reason 
for it then more than now. It was a continuation of an ancient habit, 
that is all. We remember one ancient and huge kitchen where two mem- 
bers of the family were left. Invariably the dining table was closed and 
pushed to the wall after every meal, leaving a great empty space of no 
possible benefit. Our grandmothers would as soon have thought of leav- 


460 FURNITURE OF THE PILGRIM CENTURY 


ing the dishes unwashed as of leaving the table in the floor. It is one 
of the most curious instances of the failure of the human mind. 

The trestle style of table survived in small gate-legs sometimes, and 
also in a few tavern tables, but the tops were in all cases attached. Pins 
of oak were the ordinary method of securing the tops in position. It 
was not until the Sheraton time or thereabouts that we have table tops 
secured by screws from beneath. If we find an old table top nailed down, 
we may be sure that the nails are not original, although they may be 
old. We do not remember at this moment having seen an American table 
with an oak top, although many such may have existed and some may 
remain. Oak was a very poor material for table tops, especially if one 
desired a single board. It was inordinately heavy and hard to work. We 
find pine very early in table tops, imposed on maple frames. We also 
find maple used to a great extent, although not so much probably in the 
seventeenth as in the eighteenth century. Maple is a very smooth but 
very warpy material. Many of the ancient maple table tops are curved 
like a bow, to a really humorous degree. Incidentally it has been learned 
that there is no material so good in the manufacture of violins as these 
warped table tops. Their wood and contour and their age all make them 
ideal for the purpose. 

In the walnut period the entire table was constructed of that wood. 
The finding of a maple or a pine top on a walnut frame is always sus- 
picious, and generally an evidence that the top is not original. 

We cannot too emphatically point out the danger of asserting that a 
table has its original top. There is no possible method of proving such 
an assertion about any table. If one removes the top and finds that 
there is but one set of pin holes in the frame, the probability is strong 
that the top is original, but if an owner is persuaded that his top is 
original, he will not remove it to prove the fact. Further, it is entirely 
possible, by inserting pins, and placing a second top over them, to use the 
same holes. We have known of instances where old, but not original, 
tops have been been passed off as original by this method. Pine tops 
were especially liable to disintegration through wear. We can often be 
morally certain that the top is original, and oftener still, we can state that 
there is a strong probability of its being original. Ancient table tops, how- 
ever, are often found and are easily adaptable to ancient table frames, 
especially in the case of the tavern table with its one piece top. 

Nos. 673-674. The author had the good fortune to discover the 
table here shown. It was the second trestle-board to be found in America; 
the first, found by Mr. Bolles, being in the Metropolitan Museum. The 
main features of such tables clearly appear here. The trestle itself is in 


646-649. 


Fotpinc BEep wITH 


SHOE 


OB 
+ 
& 
a 
ei 





BasE AND CRANE Heap. 





650-653. Canopiep Brep, JoHn AtpEN House, 18th anp 19th CrEnTurRIEs. 





18th anp rgth CENTURIES. 


Canopiep BeEp. 


654. 





™ 


scene teers tt 


655. 


ScrotLep Hutcu Tass, on SHoEs. 


SNL nec RA EIS a a ES OR 








18th Century. 


FURNITURE OF THE PILGRIM CENTURY 465 


the form of a double T. Two or three such pieces were connected by a truss 
along the centre. In the instance before us, there are two spindles, resem- 
bling early turned chair spindles, inserted at intervals on the truss, and 
running to T heads which are in section like the heads of the main trestle. 
The board is about 25 inches wide. The tops were ten to twelve feet 
long. The board here is pine. The frame seems to be of maple. The 
truss was originally held in place by pins run into the post by hand and 
temporarily holding the table in place. 

Owner: Mr. B. A. Behrend. 

The table was preserved at the Richardson Tavern, Medway, because 
Washington had once eaten from it. It was put in the attic, and on 
the occasion of an auction early in the twentieth century, it was brought 
out, photographed and sold. Persons from each part of the ancient 
town, which had been divided, bid on the table. They ran it up above 
ten dollars, and, the bidder being judged insane by most persons at the 
auction, it was knocked down to him. The object of the buyer was merely 
to preserve a Washington relic. No one present knew of the great im- 
portance of the piece. The author saw by accident a photograph of the 
table, and traced it into the West. After an exciting chase and fevered 
expectancy it was secured. One end of the board is chamfered, while the 
other end, perhaps, has been cut off a little. In other respects, it is prac- 
tically in its original condition. It is possible that the tenon of the truss 
originally ran through and was pinned on the outside, as on the Bolles 
example. The pins are at present fixed and cut off, and we never sought 
to withdraw them. 

Upon this table there are placed various trenchers of wood and bowls 
used for mixing or serving food. _ 

It ought to be pointed out that a considerable number of trestle-board 
tables has been found within a short time, but for the most part, they 
have been traced to the Shakers, and date around 1800. They some- 
times have turned posts. We hear rumors of one or two ancient examples, 
but we have never seen them. 

Nos. 675-676. These illustrations show, on the right, the earliest, 
and on the left, the next earliest, methods used in America of attaching 
the sides of drawers to their fronts, in court cupboards or tables. The 
oak was gouged out so as to get a better hold for the nail driven into the 
rabbeted end of the front. It thus appears that in this country, at least, 
the use of nails in drawer construction was earlier than that of the dove- 
tail. The dovetail on the left, one notices, is single. The groove in 
the side of the drawer is very clearly shown. It engaged a strip of hard 
wood attached to the inner frame of the table. 


466 FURNITURE OF THE PILGRIM CENTURY 


No. 677. This table, the property of Mr. George Dudley Seymour, 
is at the Wadsworth Atheneum, Hartford, and is the only one that we 
have noticed in this style. It was no doubt suggested through a memory 
of the trestle table, because its leaves are on the ends instead of on the 
sides. When these leaves are extended it has quite the trestle-board 
appearance. It is, therefore, a connecting link between the draw-table 
and the gate-leg table. The obvious thing for us would be to place 
leaves at the side of a table. 

There is in the rooms of. the Connecticut Historical Society at Hart- 
ford a table, very massive, its legs being nearly five inches in diameter, 
which was built as a draw table; that is to say, leaves were drawn out 
from each end, sustained on elongated cleats, allowing the central portion 
to drop to their own level. Such tables are known in England, and 
have of recent years been imported. Lyon illustrates this Connecticut 
table, which has lost its leaves. 

The specimen before us, however, is a modification of that table and 
an advance upon it, as the leaf attachment is simpler. Most persons who 
can remember fifty years know that it was a common thing to extend 
ordinary tables by the use of such leaves with prolonged cleats or tongues, 
which were thrust into holes cut for them in the table frame immediately 
under the top. It was a kind of early accommodation answering the pur- 
pose of the extension table of modern times. 

No. 678. This form of the trestle table, found in a good number of 
instances in New Jersey, in which the X or so-called stretcher is slightly 
scrolled, is a good example of its type. One notices, however, that the 
date is about one hundred years removed from the trestle-board forms 
we have previously considered. 

Owner: Mr. Willoughby Farr of Edgewater, New Jersey. 

Nos. 679-680. A pair of trestles and a board about six feet in length, 
owned by Mr. Harry Long. The ingenious stiffening brace is located 
at a point where it is wholly out of the way. It is also very effective. 
It is let down into a slot in the trestles. The two stools are half-moons 
in shape. The writer does not know their origin. 

No. 681. An oak “court cupboard” table. It is, so far, unique in 
the annals of American collectors. It is reported to have been found 
in the attic of an ancient house on the North Shore, within a very recent 
period. It was somewhat fully described in Antiques. The author, 
however, made the illustration here used, before that publication, We 
have already referred to this table under court cupboards, to show the 
similarity of the applied turnings to those on such cupboards. This speci- 
men had a drawer at the center, and appears to have one now but only 





656. 


Oak, Cross STRETCHER CHAIR TABLE. 


I 


~ 


i! 





oo. 


Rc 11° ei 


658-664. 


CHAIR 





Tasies, CuiLp’s Cuairs, ETC. 


we 


ilies 


20 wa i aot 








655. American Goruic PaNELED PINE Cuarr Taste. 17th CEenTury. 





Room oF THE PERiop or 1700, Hazen House. 


666-670. 








ae 


CanvLE Rack. 


672. 


Cuair Taste, 18th Century 


I. 


67 


FURNITURE OF THE PILGRIM CENTURY 471 


the front is in place. The drop under the frame was convenient, as far 
as this central drop is concerned, to serve as a drawer pull. 

The top of this table is practically circular. At the present time it 
is painted in imitation of marble, but we assume that it was earlier in 
its natural state. The balls of the feet are quite like those in the oak 
chair table recently discussed. In the present instance they appear to 
have lost about half their thickness. They are cut down to allow the 
insertion of casters. In this instance they should be restored, as the 
elevation of the table and the rounding out of the feet would.add very 
much to its dignity. This table has a subordinate and smaller gate-leg 
in the rear, on which, when the double top is opened, it rests. There 
can scarcely be a doubt that this table was made for a room containing 
a court cupboard, its turnings being so nearly similar. 

The diameter of the posts, about 34 inches, is detailed more fully 
under turnings. The curious hinges we believe to be original. 

It is difficult, of course, to trace the origin of a piece so old. It 
is not impossible that it came from England along with a court cup- 
board. It certainly, however, has been in America a very long time, and 
might easily be American so far as its wood is concerned. It is very 
curious in this connection that Englishmen tell us that the wood of some 
of our American pieces is English oak, whereas we are able to point out 
the error. This statement is not made with any sarcastic intent. 
We mean only this: that the English, unconsciously, perhaps, wish to 
establish the English origin of an American piece, whereas we are just as 
unconsciously leaning to the other side. Those people who absolutely 
know oak would of course contemptuously brush both contenders aside. 
This sentence is intended to bear a touch of sarcasm. 

Owner: Mr. George B. Furness, Douglaston, Long Island. 

Size: 274 inches high; 36 inches diameter of top. 

No. 682. A large table of uncertain use. Probably it was for dining 
purposes. 

Owner: The estate of William G. Erving, M. D. Features of 
especial interest are the unusual size of the brackets, and the central scroll 
on the frame, the brackets adding to the strength, and brackets and scroll 
adding to the appearance. One sees here a medial stretcher rather than 
the outside longitudinal stretchers. 

The tops and rails are pine, the stretcher is ash. The top is 323 
by 64 inches. The frame is 244 by 543 inches. The hight is 274 
inches. 

No. 683. The table previously described and this type are often called 
refectory tables. There is a confusion in the American mind between 


472 FURNITURE OF THE PILGRIM CENTURY 


the refectory and the communion table. Refectory tables are not known 
by that name in the old inventories. There they were called “long, 
standing, jointed.” The term refectory refers to the frequent use of 
such tables in college commons, or the like. It is a somewhat stilted 
and un-American word. A long table would be a better term. Such 
tables are very scarce in America, so much so that when we pass from 
those of the type of No. 682, which might be called a long tavern table, 
to the communion table, the room between the two for a true refectory 
is small. The communion tables are all too high to be used for dining 
tables. We think it is very much better, therefore, to call them frankly 
communion tables. The table before us was owned by Mr. I. Sack. We 
believe the posts are maple. The top, as we show it, was of two pine 
planks. We believe it to be a communion table, for if, as we are told, 
the fashion in the ancient day was for high tables, why are not the 
trestles high? This table was even higher than it is now, it having had 
balls on the feet, which would have given it a hight of about 34 inches. 

Nos. 684-686. We here interpose a picture of a room with cross 
stretcher furniture, the greater part of which has already been described, 
although the clock on the left, formerly supposed to be of Knicker- 
bocker origin, is now known to be Spanish. ‘The clock seen through the 
doorway has always been known to be English. We are omitting clocks 
from this work, for separate treatment. 

No. 687. A kitchen table with a leaf at the end. 

Owner: Mrs. F. Gordon Patterson of Boston. 

The brackets stiffening the frame are a feature of merit. The slide 
is missing. 

No. 688. An American all oak square topped table. It was found 
at 59 Central Street, Andover, Massachusetts, in the basement of a very 
ancient house, said to be of the seventeenth century. The table is sup- 
posed to have been there for a long time. There is no possible reason 
for regarding it as a communion table, as its shape would be wholly dif- 
ferent from what we have been led to expect. 

An outstanding feature of the construction is the large bulb upon the 
legs. This turning resembles somewhat the turnings of the one or two 
known cross stretcher desks and the cross stretcher chair table already 
described. It is a good deal smaller than the bulb of the Virginian court 
cupboard described. ‘The color and the texture of the oak, the figure of 
its beautiful quartering, and the location of the table, so long in one 
place, have induced the belief that the piece is American. This belief 
is further reénforced by its style, especially its turning. 

The top is made to lift off, small mortises engaging a section of the 





673-674. TresttE Boarp TasLe witn Spinpies. Earty 17th CenTury. 





675-676. 17th Cenrury Drawer Enps. : 





ai aati oc None tenes se ES ana AA SR 1 SS AC ea 


677. A Mopiriep American Drawer Taste. 1690-1710. 





678. X Trestte TasBie. 1720-50. 





679-680. ‘TREesTLE TasLe anp Stoors. 18th CENTURY. 





681. Unique Taste, Courr Cuppoarp Sryte. 1660-80. 





682. Mepiat STRETCHER TaBLE. 1690-1710. 





683. Communion Taste, Marre or Bircu anp Ping. 1660-90. 





684-686. A Cross SrrercHER Room. PrErtop oF 1690. 





687. KircHen TasLe wity Siipe, Drop Enp, etc. 18th CEnTuRY. 


FURNITURE OF THE PILGRIM CENTURY 477 


legs extended in the form of a tenon. It is thus of the period when 
the evolution was proceeding from the trestle-board to the standing 
table. All the boards of the top are apparently from one piece of 
timber, such is the sameness of the quartering. ‘The method of attaching 
these boards, seen in No. 689, was through long dowels running from the 
end cleats into the center of each board. In the passing of time, a 
shrinkage has made it possible to work these boards much as a swivel 
blind is worked! The only part of the top that is not original is the 
wider of the two outside boards. The other restorations are two of the 
balls of the feet, and two out of twelve of the applied scrolls ornamenting 
the drops. The brackets are amusingly constructed. On the end next 
to the post they are thinned into wedge shape, on their backs, so as to be 
driven into the mortise. The brackets are fastened on the outside and 
in the usual way, by a nail driven into the frame. The stretchers are 
molded inside and out. 

The interesting method of forming the top, so as to leave no end 
wood, is obvious. It was of course necessary to nail or pin at the cor- 
ners of the top. The under side of the top and the inside of the skirt 
aprons and brackets are hewn and left in the rough. These features 
of construction belong to the earliest style and throw much light on 
methods. 

Every part of the table is in quartered oak except the legs and the 
stretchers, and there is a trace of quartering even in them. The fine 
grain and quiet character of this quartering and its blending from board 
to board, produces one of the handsomest effects we have ever seen on 
a piece of ancient furniture. 

At this writing we know of no other American table so large and at | 
the same time with as much contrast between the square of the turning, 
which it will be noted is small, with the large size of the bulb. The 
hight of this table puts it part way between the ordinary hight and the 
communion table. 

Size: The largest bulb of the leg is 4§ inches in diameter; its square 
is 23 inches, scant; its smallest diameter is 1$ inches. The foot is of 
the same size as the great bulb. The top overhangs about 8 inches, 
and is 454 by 46 inches. The hight is 314. 

The authority for the location is Mrs. N. E. Bartlett, whose ances- 
tors have owned the table and from whose house in Andover it came. 

No. 690. A long table with brackets and drops. 

Owner: Mrs. John Marshall Holcombe. This example was used 
in the Grant family of East Windsor Hill, Connecticut, as a dining 
table, before 1700. It was possibly the property of the settler, Matthew 


478 FURNITURE OF THE PILGRIM CENTURY 


Grant, who was a surveyor, and whose tripod was among the family 
treasures. ‘The channel mold on the frame is the same as that appear- 
ing on American oak chests. 

The frame is oak. The style of the turnings is close to the earliest 
American work. 

Size of top: 324 by 70 inches; frame, 32 by 584 inches; hight, 31 
inches. 

Nos. 691-693. A room containing seventeenth century furniture, or 
early eighteenth century examples, most of the individual pieces of which 
are described in this volume. The sheathing is of the character common 
in houses of that period, but the shutters are somewhat later. 

No. 694. A communion table used by the church of Sudbury, Massa- 
chusetts, and dated from the second edifice, which was completed and in 
service in 1655. This table was described in the first edition, but some 
facts were withheld, since the church did not wish to be annoyed with 
inquiries. By an arrangement for a fund, the interest of which is to be 
applied in support of the church, the table was passed into the author’s 
hands. It is, perhaps, the oldest table whose ancestry can be quite precisely 
traced to so early a period in American history. While not as important 
from the standpoint of style as No. 698, it is more “in the rough,” and, 
to a certain class of collectors, is of greater interest on this account. We 
confess to belonging in that class. The original church in the town of 
Sudbury was in what is now Wayland. When the Sudbury Center church 
was set off as a new parish, a part of its inheritance from the older asso- 
ciation was this table. The top is of yellow pine, and was in one piece. 
It has been split, but in such a way as obviously to indicate that each section 
belonged to the original part. It is of pine and an inch and a half in 
thickness. 

Its dimensions are 29 by 844 inches. The hight of the table is 334 
inches, from which probably # inch has been lost by attrition and decay. 
The end overhang is 63 inches, and the side overhang is 23 inches on the 
front and but # of an inch behind. This indicates that it was intended to 
show on the side of the wider overhang only. The posts are 34 inches 
square. The stretchers are 2 by 24 inches. The frame pieces under the 
top are 33 by 14 inches on the sides, whereas the end pieces are 4 inches 
wide. The posts extend above the frame 4 inch and are let into shallow 
mortise holes in the top to give rigidity and to prevent a sliding of the 
top. Every part is original. 

No. 695. A kneading-trough table. It is in the Metropolitan Mu- 
seum. ‘There is a drawer and cross stretchers. The front of the drawer 
carries quaint carvings. The huge wedges which hold the middle truss 





688. Square Oak Partor Tasie. 1670-90. 





689. QuarTERED Oak Top or Partor TaBLe. 





690. Rerecrory TaBLe, witH Brackets anp Drops. 1650-80. 





SS ype aale nailed nih 


691-693. Room or THE PERIOD ABOUT 1700. 





697. Licur Rerecrory TaBLE. 1700-30. 


FURNITURE OF THE PILGRIM CENTURY 483 


in place carry out the sturdy effect of the piece. The cross stretchers are 
slightly scrolled. So, also, are the straddling legs. The material is pine. 

One is naturally prone to the opinion that this piece was a gift con- 
structed by a young husband for his bride. We do not certainly know the 
origin, but it is probably of Knickerbocker or Jersey derivation. 

No. 696. A remarkable table owned by the Metropolitan Museum. 
It contains a box or hutch below the top, which latter is made to slide, the 
cleats being dovetailed. The panels are encroached on at the bottom by 
the base molds of the frame, a thing which we can hardly understand 
because the table was evidently a thoughtful composition. The turnings 
are very early and quaint. There is apparently something missing at the 
bottom, since the flat stretchers were not intended as shoes. Had they 
been so intended, they would have run under the feet. The top is made 
with mitered ends to avoid any end wood. It has been thought that the 
table is American, but we do not feel competent to judge. 

It is an odd feature that the only method of gaining access to the hutch 
is by sliding the top, a thing one would not do with ease, if it were covered 
with articles. } 

The top handle of iron is like what we see in English pieces. This 
table serves to point the statement that early tables were made without 
leaves. If larger tables were wanted, two or three were put together, and 
that method continued down through the year 1800. When tables with 
leaves finally came in, they speedily drove out of use all large tables with 
one-piece tops. Hence the extreme rarity of such tables. 

No. 697. We may name this a light refectory table, as it will do as 
well as any other term. Still, it is the type of a long tavern table. The 
objection to using the term tavern table of these large pieces is that they 
could not, of course, be moved about readily for the use of individuals, 
a requisite attached to the name and use of the tavern table. 

The frame of this table is oak, but the top is pine. There is a good 
overhang all about, making the table convenient to sit at. 

One sees in this table an approach to the gate-leg style of turning. Its 
plain stretchers, however, hold to the earlier type of the standing table. 
The plain stretcher was stronger than the turned stretcher, a very important 
matter if the stretcher was long, as here. 

A frame of oak usually points to an earlier date than a maple frame. 
Still we cannot be too dogmatic on such matters. Old traditions died out 
slowly in some parts of Connecticut. 

Size: The top is 294 by 673 inches. The frame is 204 by 47 inches. 
It is 254 inches high, and has, obviously, lost something of its feet, which 
would be proved also by the fact that it is too low to sit at as a dining table: 


484 FURNITURE OF THE PILGRIM CENTURY 


No. 698. The Salisbury communion table. This very remarkable 
table, all in American white oak, with carving on the front of the frame, 
the author saw brought in by the dealer who discovered it. At that time 
the top was loose, showing the joints between its boards. On the occasion 
of its sale, the purchaser desired those boards jointed and cleats applied, 
which was done. Later, when it was resold, a purchaser threw it back upon 
the seller, on the ground that the top was not original. The inference was 
natural enough to one who did not know the circumstances. 

The table is unique at the time of this writing, in respect to the fact 
that it is the only American table found with carving on the frame, which 
also has its original base, practically at the full hight. The table also 
solves the question whether or not there were ever American tables whose 
feet terminated in squares, and were not turned. Tables found with square 
feet in England, we were accustomed to think, had lost the turned feet in 
most cases. We believe that in some instances the feet were originally 
square. We did not feel certain that any table of the type existed in 
America. 

The carving consists of interlaced straps, within which are rosettes, 
technically called a guilloche design. The design is said to be a symbol of 
eternity. The spandrels are also stippled. As this table stood in front of 
the pulpit and probably on a dais, elevated at least one step above the hight 
of the pews, and as the table itself was about five inches higher than a 
dining table, the carved member was impressively exhibited to the congre- 
gation, as they sat. It is for this reason that carving on a communion table 
was particularly appropriate. The style of the turnings is the earliest 
American. The only restorations on this table, aside from jointing the 
top as above mentioned, are the two brackets at the junction of the frame 
and the posts on the front. Mortised slits in the posts were found, giving 
the precise width of the original brackets. Broken off nails were found 
on the frame, showing where the bracket had been nailed in the conven- 
tional manner at its inner end against the frame. We were able, there- 
fore, to make a very exact restoration, which greatly increases the beauty 
and sense of completeness of the table. The construction of the frame is 
heavily mortised and pinned, there being two pins at every joint on the 
upper part of the frame. There is a $ inch mold all around the edges of all 
the members of the frame, top and bottom. This molding is worked on 
as in the case of chests, a part of it being done after the frame was 
assembled. . 

Size: The top is about 14 inches thick, 284 by 89 inches on the surface. 
The total hight is 344 inches, this proving that there could not have been 
balls at the bottoms of the legs. Thirty-four inches is the usual hight for 


‘KUOLNAD YIQI ‘NUOPY HOVOD fgZlI ‘avg uoog aauNstaTaAdg *00L—669 





‘09g—-0$91 “LAG J TIVNIOIVGQ) HLIM ATAV YT NOINDINWO? aaAaVI) *369 





eee 


702. 


701. Watnut Lisprary TasLeE. 1700-20. 


Watnur Lisrary Tasie, ScoLLopep SxirT. 1700-20. 





SNA cis nail eae RD ht 





















703. PENNsYLVANNIA KiTCHEN TABLE. 1710-50. 





| Sat 


ea 
Sai ce e S cecr ea as 


704. Warnur Lisrary Taste, ButBous TurNED. 1700-30. 





a 








a 


mm EDA WELTER FS. 





Four Quaint Lanterns oF Various Dares. 


705-708. 


es 
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bea 


Be 
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Farry 18th Cenrury FURNITURE. 


KiTCHEN OF THE HaLe Mansion 


709-712. 


FURNITURE OF THE PILGRIM CENTURY 489 


communion tables so far found. The frame is 26 by 714 inches. There 
is thus an overhang at the ends of about nine inches. The posts are 35 
inches square. The square of the posts at the bottom is 11% inches long, 
six inches of this being below the stretchers. The square of the posts at 
the top is 7 inches long. The top members of the frame are 4 by 14 inches. 
The bottom members are 3 inches deep by 24 inches wide. 

The restriction of brackets to the front of a table frame is not unusual 
in smaller tables. In this instance the table was intended to show but one 
front. There were no mortise holes found in the posts to receive brackets, 
except at the front. 

Nos. 699-700. We are familiar with the wooden door bar, but here 
is a door bar of iron on which scrolls appear, as well as the initials C. W. 
and the date 1778. The length is 57. inches. As one sees, this bar is 
really a huge hasp, the slot of which was slipped over a staple and secured 
by a pin. The long trumpet below is of the sort used on coaches to 
announce their approach. It is about five feet long. It requires a man 
with good lungs and some skill to use it. By adept blowing it gives out 
a varied musical bar that is very pleasing. Both of these articles were 
found in Pennsylvania. 

No. 7or. A walnut library table. This type seems to be found only 
in the Pennsylvania and Jersey region. These pieces are sometimes called 
kitchen tables, and their drawers often bear evidence of rough usage. No 
doubt the type was used in more than one room. The side overhang of 
these tables, about three inches, is to admit of sitting at either side very 
comfortably. The tops of these tables are all made removable, by four 
hand dowels. The overhang at the ends is always generous, and in some 
cases, more. Examples are found in pine also. If we presume that the 
pine pieces were for the kitchen and the walnut pieces for the parlor, per- 
haps no one can show that we are wrong. A characteristic feature is the 
large size of the knobs. The drawers usually, if not always, overlap, and 
more often than not they are in different widths in the same frame. 

The stretchers sometimes run around the outside and sometimes there 
is a medial stretcher, as here. Asa rule the stretchers are in a square section 
and not turned, but they are frequently found molded. 

Size: The top is 31 by 66 inches; the frame is 25 by 53 inches. The 
total hight is 29 inches. There is the unusual feature of a third drawer. 

No. 702. A walnut chair table with a scalloped skirt. Of late, since 
these tables came into demand, not a few have been found with the scal- 
loped skirt. With the plain skirt, large numbers have been brought into 


the market. 
Such a table as this, not as large as the previous number, might have 


490 FURNITURE OF THE PILGRIM CENTURY 


been used for serving, but as a rule smaller tables of this sort would have 
been sought for the purpose, and such are found. 

Size: The top is 324 by 484 inches. The frame is 283 by 364 inches. 
The total hight is 282 inches. 

No. 703. A Pennsylvania table, of which the legs are maple and the 
other members pine. The drawers are not paired but the knobs are good 
of the type. The frame is beaded. The posts are 24 inches square. The 
stretchers, as usual, are of a rectangular section, but larger vertically than 
horizontally. 

No. 704. A walnut table with scalloped skirt and an end drawer. The 
turnings are much bolder than usual, approaching almost to the bulbous. 
The feet are quite characteristic. The table is large and handsome. 

Nos. 705-708. A series of four lanterns, the property of Mr. Ru- 
dolph P. Pauly. The first example is hexagonal and is of tin, and the 
second example is octagonal and made of wood. The glasses, however, 
are divided into two parts with a lead joint. Fascinating little carved 
finials appear at the angles. This is one of the most interesting and im- 
portant lanterns we have ever seen. The other pieces are of tin and of 
ordinary shape, that at the right being probably a sconce from which the 
reflector seems missing. 

Nos. 709-712. The large living room of the Hale Mansion, South 
Coventry, Connecticut. It was built in 1776, by Deacon Richard Hale, 
father of Captain Nathan Hale, the “ martyr spy ” of the Revolutionary 
War, who was born in an earlier house which was demolished soon after 
the present house was erected, and which stood but a few rods from it. 
The maple gate-leg table on the left is one of the daintiest examples. It 
is very delicately turned and the frame on the end is scrolled. Its top is 
41 by 523 inches, and it is 23 inches high. The table on the right is a very 
rare specimen called in Connecticut a Windsor table, not from the Windsor 
chair, but from the town of that name. There is a larger example, which 
we do not show, in the author’s collection. The table shown is of hickory, 
oak and maple. It was found in Hartford. The oval top is 214 by 284 
inches, and the hight is 24 inches. The room is well paneled on the fire- 
place side. A curious little bench stands before the fireplace. 

Much credit is due to the owner of the house and contents, Mr. George 
Dudley Seymour, for the restoration. 

No. 713. An extremely rare and important gate-leg example. One 
of the unusual features is that there are two gates on a side. Another is 
that there is a leaf on one side only. We may perhaps presume that the 
table is used in a public place like a court room. There is a good deal of 
wear shown on the back stretchers and a freedom from wear in front. 





713. An OrriciaL SincLeE Lear GatreLec Taste. 17th Century. 





Watnur TABLE witH Four GaTEs. 1690-1730. 


714. 


Pee. 


~ 


Warnutr TaBLeE witH Four GATEs. 





SouUTHERN STYLE. 18th CenTury. 





716. Warnut TasLe witH Four Gates. 1690-1730. 


717- 





718-719. 


GaTELEG TABLE. 





GaTELEG TaABLEs. 





Earty 18th Century. 





Earty 18th Century. 





pees 


ee 


720. Heavity Turnep GaTELEG TaBLE oF Maple. 1690-1720. 


= 


ss 
Ap 





} 
UN Earn | 


fea EFarty 18th Cenrury. 


Cross STRETCHER GATELEG TABLE, 


FURNITURE OF THE PILGRIM CENTURY 495 


This is proof, since the parts are all original, that the table was used at the 
ends and back only. The back would not have shown wear had the table 
been kept against the wall. The nature of the wear would preclude the 
supposition that the table was used for communion purposes. There is 
no wear on the rule joint of the leaf, showing that the table was used 
standing, that is, that the leaf was regularly raised. There is a fine molding 
on the stretchers, and the stretchers of the gates are molded on all four 
corners. The front stretcher is chamfered, as clearly seen. 

The joint in the front rail is cut on a radius to permit the turning of 
the leg. There is a legend on the back rail: “ Chas. Hosmer, Hartford, 
Conn.” This gentleman has been called the father of the Historical 
Society in that city. The legend is probably a shipping direction. We 
are no doubt indebted to him for this splendid specimen, which has now 
been brought out from the obscurity of a basement, and placed in public 
view. His date was 1785 to 1871. 

The wood of the table is cherry, except the upper frame rail in the 
back, which is pine, with a molded edge. The legs, as well as the front 
stretcher, are 34 inches square. The back stretcher is 24 by 34 inches. 
The table is 78 inches long and 30 inches high. 

Our attention has been called, by the kindness of Mr. Lockwood, 
to the existence of other tables with gates on one side only, which tables 
were intended for use in pairs, in the same manner as, at a later period, 
the famous cabinet makers arranged their tables. The specimen before 
us could hardly have been used in that manner, or the wear would not be 
found in the portions indicated, although of course we do not know the 
original intention of the maker. 

The massive squares of the legs and the generally large dimensions 
really give this table a place with the great refectory and communion 
tables. Nevertheless, the fact that the leaf has a rule joint precludes the 
naming of a date as early as we would otherwise give. 

No. 714. A four-gate table of walnut. 

Owner: Mrs. Lewis Sheldon Welch of New Haven. 

The existence of twelve-legged tables, otherwise called four-gate 
tables, or tables with two gates on a side, has not even been suspected by 
some collectors. Some six or eight examples are known in America. Pos- 
sibly the most important is that at the Albany Historical Society, which 
is the only one that has come to our attention having its gates swing from 
the centre, and giving a star or raised effect when the gates are all opened. 
That method of swinging the gate is commoner in England. It is a much 
wiser design than that of the table before us for, when the gates swing 


496 FURNITURE OF THE PILGRIM CENTURY 


from the centre, the knees of the sitter are not interfered with by the 
legs of the table. 

The origin of the table shown is presumably Connecticut. Of course, 
the drawer handle is not original. The purpose of using two gates on 
a side was, of course, the additional stability required by very large tables. 

It is important to glance at the question of the probable origin of the 
walnut used in New England furniture. There is little of clear direct 
evidence on the subject, but we know that there was a brisk coast trade 
between the North and the South, and there can be little doubt that 
Virginia walnut was brought into New York and New England. When 
we reach Pennsylvania we find there a red walnut closely like the Vir- 
ginia walnut. 

We know that in England walnut was not a commercial wood before 
the days of Queen Elizabeth, when it was planted under royal patronage 
to a great extent. When, therefore, the walnut age came in, England 
was able to use her own forests. She was stimulated to the production 
of walnut from the fact that it was a fashionable wood in Italy. 

Great forests of Virginia walnut, furnishing very fine timber, were 
found. Of course it was shipped to England, and it would be unreason- 
able to suppose that it did not also go into New England. It is found 
in fine furniture here and in New York so frequently that we rest in this 
conclusion. Nevertheless there were two sorts of walnut native to the 
North; the black walnut, which is occasionally found in early furniture, 
and the white walnut, another name for hickory, which of course entered 
very largely into the Windsor chair and various other manufactures. It 
is rather misleading to use the term walnut of hickory, because only those 
specially trained in local appellations will understand the meaning. As 
a structural wood, the Virginia walnut was superior to our native black 
walnut, as well as being more fashionable. 

The furniture wood of the North is, however, par excellence, maple. 
The soft maple is the sort most frequently found in furniture. Other 
names for it are swamp and water maple. It is distinguished from 
the rock or sugar maple by the fact that the rock maple is a heavier, 
harder wood, and furnishes even finer material for turning than the soft 
maple. 

No. 715. A four-gate table of walnut. It was found by the writer 
in Richmond, Virginia, and is now owned by Mr. Chauncey C. Nash. 
It is somewhat small and low for a four-gate table. The turnings are 
more characteristic of the South, where we are more likely to find the 
stretchers in square sections, as here, rather than turned. This table is 
practically all original except a small mend on the top. 


Seas O Ae 


SpanisH Foor GaTELEG TaBLeE. 


COSI A LE EH 





722. 1690-1720. 


dy 
ir 
7 





723. Botpty Turnep GaTELec. 





724. ‘TuRNED Frame Tasie, Frat Gates. 1790-1810. 
/ 4 ) 9 





725-729. Hominy Mortar, BEEHIVE, Hann Wroucut Mortar. 





: 
{ 
; 
Resend aries ations een i saad - 
730. Dainty Smartt GaTELeG Tasie. 1690-1720. 
Frew > eat 
§ 





731-739. SryLes oF SHovEL AND Tonc Heaps, 








Si PO PISS Aid Sa PIR Nal i Ro 2 ana ‘ et iS Sec EAB SS cl a 





740. Smati GaTELEG, GRoovep Joint Top, 1690-1730. 


lit 2 . IR i a a each eer | 


‘741-742. Sprir GaTELEG TaBLes. 1680-1710. 





. 


Siesta eta 





FURNITURE OF THE PILGRIM CENTURY 501 


No. 716. A walnut four-gate table found in southern New Hamp- 
shire, near Dover. 

The top is not original, being of pine as shown. The author has now 
replaced the top with another of old walnut, in the oval form. 

It is thought, where a table has, frankly, a new top, that circumstance 
detracts very much from its importance. In the instance before us, how- 
ever, the frame is of great beauty and perfection. We think we have 
never seen a table with such a forest of legs in so fine a condition, every 
foot being so nearly intact as not even to suggest restoration. 

The effect of these four-gate tables, when opened, in the centre of a 
room, is startling and impressive as to beauty and dignity. Such pieces 
are the central objects of the walnut period, more attractive, at least in 
the author’s estimation, than highboys. 

The frame of this table is 20 by 51 inches. The hight is 29 inches. 
As restored, the top is made 70 inches in its largest diameter. 

No. 717. A large gate-leg table with unusually fine turnings. 

Owner: the Metropolitan Museum. One notices the very long effect 
of the frame in proportion to the width. 

The slot cut in the posts of the swinging legs and in the frame is a 
distinct blemish in any gate-leg table. It is, however, unavoidable. 
These tables look best when closed. 

Gate-leg tables usually have one drawer reaching about two thirds 
of the length of the table, and if a table is very large there may be a 
drawer at either end. In the earliest types there is often under the 
drawer a central slat on which it slides: We seldom find grooved runs 
on the drawers of gate-leg tables, their period being rather late for this 
feature. As a rule, the examples have a beaded member on the frame 
as seen here. Of course the heavier type afforded more room for ball 
turnings. If one contrasts these turnings with those of the two tables 
at the bottom of the same page, he sees less character in the latter. 

Nos. 718-719. Two gate-leg tables belonging to the Metropolitan 
Museum. 

In‘the construction of gate-leg tables, the swing of the leg should not 
extend beyond the edge of the leaf, nor, indeed, come very close to it. 
In the example shown at the right, No. 719, the close approach of the 
gate to the edge of the leaf is an objectionable feature. Of course, the 
greater the overhang of the leaf, the less interference there is between 
the human and the table leg. There is a considerable variation in this 
regard, the overhang ranging from four to six inches. 

In determining the source of walnut, we have noted that English 
walnut has an occasional bluish streak, perhaps every inch or two, run- 


502 FURNITURE OF THE PILGRIM CENTURY 


ning through the grain. All walnuts, however, bleach with wear and 
washing to a pale gray, especially if they are in an exposed location. The 
color may easily be restored by the application of a coat of oil. In fact, 
one is sometimes disagreeably shocked by the great change in color caused 
by oil. 

No. 720. A gate-leg table with somewhat heavy turnings. The wood 
is maple, including the top. The leaves have the tongue and groove 
joint, resembling the modern matched board, only less pronounced, and 
with broader members. ‘This sort of joint is counted the earlier and more 
desirable, although fine specimens are found with the rule joint, which 
is denominated by modern cabinet makers a table joint. From the 
point of appearance the rule joint is better, because when a leaf is down, 
no opening appears between the leaf and the top. 

Claim is often made for great age in the tops of some tables with 
plain square joints. The burden of proof is on the claimant. We have 
seen but one or two tables in respect to which it seemed at all likely that 
the plain joint was ancient. 

This table has lost the balls of its feet, but is otherwise original. The 
pattern of the turning is called the vase and ring, and in this case, taking 
the center of the turning and proceeding each way from it, it is symmet- 
rical or reversible. 

This table is of moderate size, and we shall not annoy the reader 
with sizes in every case It is unhappily the very small and very large 
tables that are most sought for, and those are the examples in which it is 
more important to note the size. The gate-leg table of medium size is 
intrinsically as good as its smaller brothers, but sad to say, owing to the 
innate propensity of a collector to secure the unusual, it is not so much 
in demand as the small and large examples. 

No. 721. A gate-leg table with a cross stretcher. 

Owner: Mr. J. H. Stiles, York, Pennsylvania. 

We do not remember having seen another example of a stretcher of 
this kind. The top, we presume, should be oval and not square. Pos- 
sibly some gate-leg tables had rectangular tops originally, but none such 
have come to the author’s attention. 

This table has lost its feet. It has a good ogee scroll on the frame. 
In this connection we may remember that when this scroll or any decora- 
tion on the frame occurs, it of course shows on the end member rather 
than on the side, which is completely masked when the leaf is closed 
and largely masked when it is open. 

No. 722. A maple gate-leg table with Spanish feet. The top on 


eitonenmetd eam Ane 


aise e 


siianeniieoes 





743. SmaLtL Watnut GaTELEG. 1690-1730. 





$d a ih Eero i i a alan aR RE 


744. Hanp-mavE Bowr witH HanpLes, 


Tucx-away GATELEG TaBLE. 


745A. A Fire Carrier. 


1690-1710. 


tere ep mS ishing 





as | 


| 








iain eciammmnammmsiaiinti 








7 5 


BE Tes TaN Tres Cae see Notre ee heh ona ee Cote 


746. 


Fotpinc GaTELEG TaBLe. 





1700-1730. 





747. Marre Gare vec. 


748. 


FoLpDING 


GaTELEG, GroovEpD ScrRoLLED TrReEsTLE ENps. 


tail iad tion MMS AN 7 it ii? iba SS RIEL te ns 


749. Lone Fotpinc GaTELEG. 1690-1710. 








i 
4 


RN CS Nn SORTASE Ee a Sd 


1690-1710. 


Sa aligposaniiatlae a 


FURNITURE OF THE PILGRIM CENTURY 507 


this table is of the proper size and has the grooved joint, but it is of pine 
and of course is not original. 

Gate-leg tables with Spanish feet are rare. Some such tables have 
nearly all the scrolls of their feet new, and in no case have we seen one 
in which the feet did not require some repairs. The tables go well with 
Spanish foot chairs in the same room. 

Size: The top is 454 by 47 inches. The frame is 14 by 33 inches. 
The hight is 274 inches. There is a drawer. 

No. 723. A gate-leg table with heavy turnings In this instance, 
the stretchers are of a square section. The wood is all walnut. The 
frame is scrolled at the ends. The construction is without a drawer. All 
parts are original. There is a grooved joint and the ancient hinges. It 
is sometimes possible to decide whether a top is new or old by the style 
of the hinges. The table hinge, as the term is commercially understood 
now, came in about 1790. Earlier hinges were wrought, their edges being 
more or less irregular, and often in the butterfly pattern, or if not, in a 
cruder pattern than the fine hinges of the Sheraton period. 

No. 724. A table with flat gates. This style is more generally 
found in England. Of course, the relation between the gates and the 
legs of the frame is lost by this method, but it is very early. The turn- 
ings here are handsome, and rather unusual. This table is walnut. 
Square stretchers are the rule with flat gates. It will be seen in this in- 
stance that they were beaded on the top and bottom, but that the beading 
on the top is mostly worn off. 

One observes that with the heavy turning it is possible to use the 
single vase pattern, as here. With a light turning, the vase would be so 
attenuated as to lose its distinction. Therefore, the smaller the post, the 
more intricate must be the turning, and the more must it be composed of 
fine elements in order to retain its decorative features. 

Nos. 725-727. A very high vase-shaped hominy mortar with its 
pestle. On the right is the old-fashioned beehive of straw. It is of the 
sort seen in the woodcuts in the “ Old Farmer’s Almanac.” These bee- 
hives were used up to a late period in Pennsylvania, but as they are now 
prohibited by law, it behooves those who would possess one to be active. 
The bees, when taking possession of a hive of this sort, will first coat it 
carefully with wax to make it waterproof. The maker ran two sticks 
through at right angles to assist the bees in building their comb. Some of 
the specimens rise to attractive cone shapes. The hight is about 14 inches 
and the diameter 16 inches. 

The owner of these three objects is Mr. Francis Mireau of the Foun- 
tain Inn, Doylestown, Pennsylvania. 


508 FURNITURE OF THE PILGRIM CENTURY 


Nos. 728-729. A huge mortar and a pestle formed by taking advan- 
tage of the crook of a limb. The material is apple wood. The peculiar 
merit of this piece is that while it is brought down to a turned form, the 
work is carved out by hand, because a section is left in the original size to 
serve as a handle. The piece is very heavy and large, so much so that 
probably a common straight pestle would be awkward to operate. This 
specimen is known to have been used for at least three generations. It 
was common for persons who were at a distance from a mill in the ancient 
time to make their own meal in such mortars. 

It is owned by the Curtis Inn, Woodbury, Connecticut. 

No. 730. A small and very delicately turned gate-leg table all in 
walnut. The turnings are striped with bands of red paint, which is old, 
but we suppose not original. The construction is excellent and all original. 
There is the tongue and groove joint. It will be noticed that on very 
small tables the walnut top is likely to be considerably less than an inch 
in thickness, as here. All in all, when the turnings and the size of this 
table are considered, it is most attractive. It will be observed here that 
the legs of the gate run to the floor, not only in the outside leg, but in 
the inside leg. That is, there is a fixed projection below the inside leg, 
like a leg terminal, though of course it is separated from the upper part 
of the leg. In this manner the harmony of the table is conserved and 
its beauty is much enhanced. Old tables are made in Bo ways, some 
omitting this complementary feature. : 

Size: Top, 244 by 28 inches. Hight, 274 inches. The leaves are 
10 inches wide, and the center of the top is 84 inches wide. 

Nos. 731-739. A series of nine shovel and tong handles. As a 
rule, the tong handles terminate in a ball. The better designs have a 
segmental swelled portion, for which there is no use further than the 
element of design. ‘The best shovel handles are scrolled, as in the third 
example. 

No. 740. A small gate-leg table. 

Owner: Mr. G. Winthrop Brown. 

It has a drawer and the tongue and groove leaf joint. 

The frame of a gate-leg table sometimes, as in this case, is made to 
take the drawer directly under the top. In other cases, there is a cross 
member % to 1 inch thick, on the frame, above the drawer. This member 
seems to add strength, but the greater part of the best tables do not have 
it. We mention the matter because this cross member has been chal- 
lenged, but we feel certain that it was original in several instances. Of 
course a drawer very much weakens the frame. It was probably for this 





1680-1700 


Cuerry TresTLE Env GATELEG. 


750. 








TRENCHERS AND UTENSILS. 


754-755; 





756. Bari Turnep Sprit GaTELEG. 1690-1730. 





757. Earty Manocany Foipinc GaTELEG. 1720-30. 


758. A Corner GaTELEG. 1690-1710. 


759. Avy Turnep Joint Sroot or Stoor Taste. 





1680-1700. 





760. 


Bircu Frame, Batu anp 





Att TurRNED TAvERN TABLE. 


Rinc Turnep Tavern TAaBLe. 


NARI ARLES SAS 


1690-1710. 





1660-80. 





59 
fei 
| 


FURNITURE OF THE PILGRIM CENTURY 513 


reason that a single drawer was used instead of a drawer at each end, on 
the smaller examples. 

Nos. 741-742. The left-hand example has a single drop leaf, which 
is held up by a split gate; that is, the gate is slit in two longitudinally, in 
the same manner as the banisters of a chair or the applied spindles on oak 
furniture. The construction avoids cutting’ into the frame by a narrower 
slot. Nevertheless, the table, when open, shows the half leg and is not 
as attractive as the usual gate-leg form. It is, however, an interesting 
curiosity and is, as a rule, seen in the smaller tables. It will be observed 
in this example that there is a triangular frame, but that the stretchers at 
the base are in the form of a T, and do not run around the table as is usual 
in the triangular style. 

The other example is turned in the knob or ball style, and in other 
respects opens like No. 741. One is shown open and the other closed in 
order to illustrate the method of operation. 

The left-hand table has a heavy original pine top. The right-hand 
example is in hard pine, and is reputed to have come from Bilbao. The 
top is thin, as we often find it in small foreign tables. Nevertheless we 
see no reason why the table should not have been made in this country, 
as hard pine was common. 

No. 743. An all walnut gate-leg table. All the legs extend to the 
floor and there is an agreeable wear of the turnings. It is all original 
except the back leaf, and has the grooved joint. The legs are in a fine 
state of preservation. The leaves have the fine large original butterfly 
hinges. The table was found in southern New Hampshire. 

Size: Frame, 11 by 29 inches; hight, 28 inches; top, 414 (with the 
grain) by 394 inches. It is an odd instance of a gate-leg table which is 
actually longer than it is wide! Ordinarily speaking, these tables are 
larger across the grain; that is, owing to the spread of the leaves, arranged 
in reference to the swing of the gate leg, the diameter is larger than the 
length. In this case that is not true. 

No. 744. A bowl worked out by hand and in the shape of a cocked 
hat, or at least to suggest that form. The knobs are left as handles. 
The material is burl. Of course the object in cutting a bowl from burl 
was to escape the danger of splitting. The burl is the result of the loss 
of orderly impulse in a tree. Nature forgets herself and the grain be- 
comes a tangle. The burl is not a knot; neither is it a crotch nor a root. 
It is a benignant tumor. Such burls are found on the maple, ash, oak 
and walnut, and probably on other trees. 

Owner: Mr. Albert C. Bates of Hartford. 

No. 745. A single gate table, otherwise called a tuck-away table. 


514 FURNITURE OF THE PILGRIM CENTURY 


This example is in maple with a thick pine top, which is chamfered away 
at the edge below in order to give an effect of lightness, as in the case of 
the Windsor chair seat. This specimen was found on Cape Cod. One 
notes the feet of the trestles, cut in an arch from below.. These specimens 
are much sought for and are very rare. They were most convenient as 
tea tables, carrying out the thought of all the earlier furniture, to provide 
it in collapsible forms. It will be seen that the stretchers here are turned. 

No. 745A. A  fire-carrier. These articles, seen from above, some- 
what resemble a corn-popper. There are holes in the top so that the 
coals could be supplied with oxygen. The handle in this instance is cast, 
but in better patterns it is found wrought. The object was to carry fire 
from one room to another, or from one dwelling to another. Carrying the 
fire from one room to another was a quicker and easier method than the 
use of the spark and tinder. 

No. 746. A tuck-away or gate-leg table in which the top swings down 
so as to present its longer diameter horizontally instead of vertically, as 
in the instance previously discussed. This table has a history attached to 
it by a metal plate. It descends from an ancient family. The wood is 
maple. One notes that the stretchers are not turned. 

Size: the top is 20 by 264 inches—a very small table. The hight 
is 264 inches. 

No. 747. A good example of a New England type of the gate-leg 
table, all in maple. It was in the former collection of the author, and 
in the Webb House, Wethersfield. 

No. 748. A gate-leg table of pine, in which the usual method is 
reversed; that is to say, we have flat trestles instead of a flat gate. The 
trestle is crudely carved with an ogee scroll on each side, and it is fluted 
also. 

One notices that the feet must have lost something from wear, as they 
formerly swept out in a longer curve and formed a more stable base. 
The flat stretcher, which forms, also, the foundation for the gates, is 
scrolled. We are unaware whether or not the top is original. 

No. 749. A folding gate-leg table. The tuck-away tables are also 
called folding gate-legs. The term is here applied to trestle-post gate- 
legs which have a top of a very narrow section. 

Owner: The Metropolitan Museum. The shape of the top is against 
the presumption of originality, as is also the extreme length of the leaf, 
but we are uncertain on these points. The table is extraordinary, being 
the longest folding gate-leg we have seen. It may have lost a half-inch 
at the base, so that the full contour of the shoe forming the foundation 
of the trestle does not appear. 








762. 


Larce Bracket AND Drop Tasie, OricinaL Top. 


763. Heavy Smatit Tavern Taste. 1660-70. 


1670-90. 











764. 


MepIAL 


765. 


STRETCHER 


ciety Sit 


io, 98 


yah ail iL ca i 


Tavern TasLe wiTH Brackets, 1690-1710. 





MepiaL STRETCHER Tavern Taste. 1700-20. 








ee DD 


syngeneic etree emeaag 


nang 


myternse 


OTs 





766. Heavy Hicu SrrercHer Taste. 1660-80. 


Baty Turnep TaverRN TABLE, ALL Lecs RakeEp. 


1670-90. 


ah 





768. 


sei eit or F Fsiecaclcnl trad ONE 


MepiAL STRETCHER TavERN TABLE. 


scinsiinnesiipiamaniinaatnaimremmmpactais 
=f Se ante catia santaacenla 


769. TurRNEpD TaBLe. 


1700. 770. 





1700-30. 





Cross STRETCHER TABLE, 


FURNITURE OF THE PILGRIM CENTURY 519 


Size: The shoe is now 9 inches long and 24 inches square in the 
main section. The frame is 354 inches long. The hight is 275 inches. 
The legs are 1 inches square. The top of the stretcher is 53 inches 
from the floor. The center board of the top is only 63 inches wide, and 
its length is 43 inches. The leaves are each 104 inches wide. The 
thickness of the top is only # of an inch. 

No. 750. A heavy trestle gate-leg. The wood is cherry. It 1s 
all original with the exception of a very small section of one leaf, shown 
at the joint in the picture. This is an early example of the use of 
cherry. It would not have been necessary to have slotted the base for 
the flat gate, but so we find it. It would seem that the flat gate was 
sometimes used in order to avoid cutting out sections of the frame at 
top and bottom. The shoes are pretty well worn down on their uppers, 
as one might say! They were once scrolled with a cupid’s bow; that 
is to say, a double ogee curve. They probably have lost about an inch. 
The joint is grooved. 

Size: The top and the flat gates are # inch thick. This is usual in 
small tables of hard wood. The posts are “stocky” for so small a 
table, being 2% inches, flush, square. The thickness of the table, closed, 
is about 154 inches; the leaves are 17 inches wide; and the length is 
36 inches. Thus the oval is extreme, and it is considered in good style 
on this account. 

Nos. 751-755. Three shallow vessels of burl. The little instru- 
ments between the bowls are Indian tools consisting of minute parallel 
knives for stripping up wood for basket work. 

Owner: Mr. Albert C. Bates, Hartford. 

No. 756. A gate-leg table with ball turnings and with two split 
gates. The material is yellow pine or, as some would say, pifion. 

The turnings are very bold and interesting, but the members of the 
lower frame appear rather lean, as is frequently the case in tables of this 
kind. 

No. 757. A folding gate-leg table of walnut. It originated in the 
South. The leaf has the rule joint. It is impossible to determine pre- 
cisely when this type of joint came into use, but we find it well established 
by 1750. 

This example is very compact, the thickness of the table when folded 
being only 64 inches. The top is 35 inches long and 424 inches wide — 
a very strong oval. The top has a fine thumb-nail molding. The hight 
is 244 inches. The piece has good style, with a long overhang and a 
large top in proportion to the base. 

No. 758. A corner gate-leg table, with a triangular frame and a top 


520 FURNITURE OF THE PILGRIM CENTURY 


which is square when opened, and in the form of two triangles when 
closed. 

Owner: The George F. Ives Collection. 

We have seen another table with a base precisely like this. The top 
had been restored in a round form. 

Size: The top is 31 inches square and the hight is 27 inches. 

Tables of this sort are important and attractive. 

No. 759. With some hesitancy we insert this table at this point, at 
the end of the discussion of gate-leg tables. We may call this piece a 
stool or a table or, better yet, we may use the term stool-table. It was 
bought in Portland, Maine. All the legs are on a rake and not merely 
two, as is usual. All the members are turned. The condition is fine. 
The top is pinned on in four places at the center of each side, and the 
pin runs entirely through the frame. All parts are of maple. 

The size of the frame at the stretchers is 134 by 164 inches. 

The modern paint has now been washed off, and without the appli- 
cation of anything whatever, even of wax, the wood has a beautiful 
appearance. 


eo 


ereinisemmiaels 


a etaatiae es sconces wy nat cc 


771i. 


717%: 


Heavy Tavern TABLe. 


Heavy Tavern Taste. 


1680-90. 


1660-80. 





ab RE sta 






eames 


73. Oax ano Pine Tavern Taste. 


774 


SMALL Oak Tavern TABLE, 








1670-90. 





aa | 





SS cade eR aE 2 os 





775. HicH SrreTcHeR Tavern TaBiE. 1680-1700. 





776. Watnut Taste. 1690-1700. 777. Wa.tNuT TaBLE. 1700-30. 


778. 


779: 


ScrRoLLED Sxirt TavERN TABLE. 


Heavy Oax Tavern TAB Le. 


1670-90. 





1660-90. 








TAVERN TABLES 


We NOW enter upon the discussion of the tavern table, about which 
something has already been said. In brief, we may state that it is 
always small, and was always, probably, originally without a leaf. It 
was designed to be moved about as wanted, especially in taverns, to serve 
guests wherever they happened to be sitting. Vast numbers of these 
tables existed, and a good many of them remain today. 

No. 760. This ancient example of a tavern table has a frame which 
we think is birch. ‘There are heavy turnings in the ball pattern, with 
incipient rings. It will be seen that the side stretchers are high, for 
what purpose no one has discovered. They are in the way of a person’s 
legs. The only manner in which the table could be comfortably used 
was to sit at its end. 

Owner: It was in the collection of Mr. B. A. Behrend. 

Only the feet are restored. It was found in Milford, Massachusetts, 
in 1917. The top has a very long overhang, 17 inches or more. 

The bases of these tables are usually in maple, and their tops are 
almost invariably in pine, sometimes yellow and sometimes white. 

No. 761. A tavern table with rather meagre turnings, as is usual 
in the small types. Of course it was thus easier for the maids to move 
about. 

No. 762. This handsome heavily turned table with brackets and 
drops, with its rare and original top, should perhaps not be classed among 
tavern tables. We have, however, a table a little too large for the 
tavern table and perhaps large enough for a breakfast table, but not for 
a dining table. 

Owner: Mrs. G. C. Bryant, Ansonia, Connecticut. 

One should compare this table with the heavy type preceding it in 
this book. There is an astonishing similarity between the brackets of 
these tables. The author has seen certainly a dozen, and perhaps twice 
as many, in which the brackets had practically the same contour, although 
some are slightly elongated to accommodate themselves to the length of 
the frame to which they are to be affixed. They are set into a thin 
mortise on the post, and attached to the frame below at their inside 
end by nails. 

No. 763. A small, heavy tavern table. 

525 


526 FURNITURE OF THE PILGRIM CENTURY 


Owner: Mr. H. W. Erving. 

The frame is oak. The turnings are very early, and should be com- 
pared with those on the Robinson chair. 

The size of the frame at the top is 143 by 84 inches, and it stands 
21 inches high with the feet missing. | 

No. 764. A tavern table in which the stretchers are turned and a 
medial stretcher does duty for the two which would otherwise exist, one 
on either side of the table. There is an advantage in this method of con- 
struction, inasmuch as the posts are thus mortised in one direction only, 
and are left stronger. There is also a gain, to some minds, of an 
esthetic nature. ‘This example is shown to have brackets worked upon 
the members of the frame, rather than applied. This method is carried 
around three sides of the table, but the back member of the frame is 
plain. The turnings are good. A portion of the feet is lost. The frame 
is maple, and the top is pine, and we believe original, though the drawer 
is renewed, and it would have been better with a knob of wood. 

Size: Frame, 21 by 31 inches; top, 27% by 403 inches. Hight, 254 
inches. 

No. 765. A small tavern table with old black paint. It is all original. 

No. 766. A rarely good tavern table belonging to the Metropolitan 
Museum. Its turnings are in the knob or ball style, and it has the dis- 
tinction of well shaped brackets under the frame, and of high stretchers 
and a medial stretcher. We presume that there were drops. The top 
is so large that it comes under the class, as does Mrs. Bryant’s table, of 
a breakfast or small dining table. 

Size: The frame is 23g by 184 inches. The top is 36% by 363 
inches, intended, of course, to be square. The square of the leg is 24 
inches. The hight is 26% inches. There is a 4-inch drawer. It is 124 
inches to the top of the high stretcher, and 44 inches to the top of the 
medial stretcher. This class of tables is, when we consider both date 
and style, the next most important to the refectory tables. Fine examples 
of this type are better than moderately good examples of the refectory type. 
This example lacks no feature counted strong and important. 

No. 767. A tavern table belonging to Mr. Chauncey C. Nash. We 
count it of no small importance. All the legs are raked. The turnings 
of the stretchers are in the ball pattern. It has a wide overhang at the 
ends. 

No. 768. An all turned tavern table with a medial stretcher. It is 
all original, unfinished, and lacks only a little of the feet. The drawer 
has an overlap, hence the date is not so early as the tables with the 
flush drawer. 





pose eee 
BEAR Ss BS DE 5 EEL EAR aL 





780. Marre anv Pine Tavern TaBLE. 1700-20. 


: 
m= ih 


ee | it 





781-2. StTanp anv PEwrTer. 783-4. Sranp ano Har Box. 





785. Ati Turnep ScroLttep Tavern TaBie. 1690-1710. 





786. SpanisH Foor TaBLeE. 1690-1710. 787. Hicu SrrercHer Taste. 1680-1700. 


FURNITURE OF THE PILGRIM CENTURY 529 


No. 769. A. little cherry table from Pennsylvania. Although so 
light and delicate, the drawer has the early side run which establishes 
a date of about 1700 or a little earlier. 

Owner: Mr. L. G. Myers. 

Size: 25 by 164 inches. It is 274 inches high. 

No. 770. A walnut table from Pennsylvania. It has the rare and 
interesting feature of an X stretcher. The top is round. It is 29 inches 
in diameter. The hight is also 29 inches; very unusual for so small 
a table. 

Owner: Mr. L. G. Myers. 

No. 771. A heavy tavern table in walnut. The large cup turning 
is striking. It appears on one or two gate-leg tables. This example is 
too heavy for a tavern table, and most probably was used at the side 
of a dining room. There is the so-called stone mold on the upper 
members of the frame. The legs are massive and the drawer is on 
grooved runs. 

Owner: The estate of William G. Erving, M. D. 

Size: The top is 29 by 413 inches. The frame is 21 by 32 inches; 
the hight is 28 inches. 

No. 772. A table resembling in its turnings and brackets No. 762. 
The posts are heavy, as in the early type, and the piece is, like the pre- 
ceding, too massive to be moved about often. It lacks the cleats on the 
top, which is original, and measures 394 by 41 inches. ‘The hight is 
29 inches. 

Owner: Mrs. J. Insley Blair. 

No. 773. A tavern table with an oak frame and pine top. It 1S 
wholly original and never had a drawer. 

Size: Frame, 204 by 304 inches; top, 26 by 40% inches; hight, 264 
inches. 

No. 774. A small oak stand or table, the top of which is old but 
not original, and the feet of which are lost. It has, however, a fine 
sturdiness and a style of turning quite like that of the very earliest 
examples, as seen in the Salisbury communion table. 

Size: Frame at the top, 17% by 8% inches. The top is 25 by 1834 
inches. The hight is now 22% inches, to which we should probably 
add 24 inches to obtain the original hight. 

No. 775. A walnut high stretcher tavern table. 

Owner: Mrs. J. Insley Blair. 

The top is also of walnut. The small size and striking turnings of 
this table render it very attractive. The turnings here are not the usual 
ball or knob sort, but the balls are separated by a considerable distance. 
The turned stretchers are most interesting. 


530 FURNITURE OF THE PILGRIM CENTURY 


No. 776. An all walnut table, all the legs of which rake. The 
meritorious brackets and corresponding central ornaments on this table, 
together with the delicacy of the turnings, afford a very satisfactory 
and complete result. Every part is original. There were never drops 
on the frame, there being scarcely space to receive them. 

Size: The frame at the top is 10} by 174 inches. Just below the 
stretchers it is 185 by 214 inches. The top is 273 by 324 inches. The 
stretchers are very strongly molded for half their hight in a cyma scroll, 
usually called a stone mold. We do not know the origin of the table, 
but it was purchased in Boston in 1923. 

No. 777. A small walnut table originating in Pennsylvania. On 
the drawer there is a crude scratch inlay, a scroll filled in with a white 
wood, none of which shows in the picture. 

No. 778. An early tavern table with an oak frame. Although it 
has lost its feet, the molding on the frame and the brackets, and the early 
type of the turnings, make it interesting. 

No. 779. A heavily turned tavern table of very early date. It was 
not the custom to use brackets on the smallest tavern tables, even when 
their style was otherwise counted good. In this example the frame is 
molded, and, above and below, the stretchers are marked by a double bead. 
The frame is oak. The top is pine. All parts are original. 

Size: The frame at the top is 105 by 224 inches. Just below the 
stretchers the size is 14 by 224 inches, by which it appears that the splay 
of the legs is in one direction only. The size of the top is 20 by 34 
inches, 

This table originated near Greenfield. It was found by Dr. Miner. 

No. 780. A tavern table with maple frame and pine top. The 
turnings are especially good. All parts are original. The drawer, as it 
appears, is not flush. A stretcher desk in this work has very similar 
turnings. 

Size of the frame: 17$ by 248 inches. The top is 233 by 374 
inches. The hight is 25 inches. 

Nos. 781-782. A stand or small tavern table. It is difficult to 
draw the line between the tavern table and the stand, just as it is difficult 
to draw it between the tavern table and the small dining table. We 
could make a division according to size, but it would be purely arbitrary. 
Curiously, the name stand seems not to appear in the early inventories. 
Table was made to do service for stand. We find standard very rarely, 
but its meaning is not the same as stand. We fail, in the published 
inventories at this time, to find a wash stand. 

A discussion as to what was used for a wash stand cannot be dis- 


> 


FURNITURE OF THE PILGRIM CENTURY 531 


missed by the flippant “they did not wash.” Small tables like this were 
used, or larger tavern tables. We believe that there was no wash stand, 
so called or so designed, in the seventeenth century in America. 

The pewter articles upon this piece do not belong to our subject. The 
wash-bowl and pitcher, generally in use, were of pewter, or, perhaps, 
sometimes of brass. We have an instance when visitors at a house of 
some pretensions washed at the pump. 

This piece is from the collection of Mr. B. A. Behrend. 

Date: about 1700 to 1781. 

Nos. 783-784. A small, neatly-turned tavern table in black. It is 
all original. 

The size of the frame is 144 by 204 inches, and the size of the top is 
173 by 27 inches. 

The box is intended for a hat. We have been informed that such 
boxes, in wood, with a handle snapping on somewhat like a blind fastener, 
are found in Sweden. This box was bought in America and we do not 
know its origin. 

Date: about 1700. 

No. 785. A tavern table turned with much delicacy. It has the 
additional merit that it is not only scalloped on the sides, but on the ends 
of the frame, and has a drawer. Enough of the balls of the feet remain 
to show what the contour was. We are always pleased to see so much 
legitimate wear on the stretchers. The reader’s attention is called to the 
use of the word legitimate! 

No. 786. A tavern table all the legs of which rake and terminate in 
Spanish feet. There has been much discussion as to the appropriateness 
of carving a Spanish foot in a slanting position. We believe that this 
table is, to the time of present knowledge, unique. It is certainly most 
interesting. 

It is in the possession of Mr. I. Sack. 

In dating a piece of this character we are of course governed wholly 
by the feet. The date is from 1690 to 1720. 

No. 787. A high stretcher table, the skirt of which is scalloped. The 
ball turning is always distinctive. The frame is maple and the top pine. 
The date is about 1680 to 1690. 

Size: The top is 284 by 374 inches —a very wide top. The great 
width in proportion to the length was probably intended to make a roomy 
table for four persons. One notes the odd absence of any medial lower 
stretcher. : 

No. 788. In this example we have a detail of style which, so far, 
is new in our description. This table is called a trestle tavern tables) it 


$32 FURNITURE OF THE PILGRIM CENTURY 


is built in the fashion of the trestle table, with a tapering shoe correspond- 
ing to a tapering cleat above. The lower stretcher is turned to corre- 
spond with the posts, but the upper stretcher is a plain member. The 
frame is maple and the top is pine. This piece is altogether original and 
unrestored. It was found in Connecticut. The convenience of such 
tables, without any frame below the top, is quite obvious. They could be 
drawn close to the user. They were available as stands or tap room 
tables, or for any purpose where a light piece was required. The analogy 
of this table to the extremely early table board and trestle is at once 
suggested, and the pattern was no doubt derived from that source. 

Size: Top, in one piece, 184 by 30 inches. The shoes are 154 inches 
long. The hight is 254 inches. 

No. 789. A stand or small oval tavern table, painted black. It is all 
original. The frame just under the stretcher measures 124 by 154 inches. 
The oval top is 214 by 24 inches. The hight is 23 inches. 

Date: 1680 to 1700. 

No. 790. A stand in which all parts are original except the top. It 
is too small to be called a tavern table. All the legs rake and are neatly 
turned to correspond with the stretchers. One notices the cutting of the 
frame in the form of a bracket, which is one with the frame. We 
presume that the top is two or three inches too small in diameter. The 
frame of this little stand is exactly square. 

No. 791. A trestle tavern table belonging to Dr. Mark Miner of 
Greenfield. It differs slightly from the table already figured, in having 
the upper as well as the lower stretcher turned. It is noted also that the 
shoes are wider than the square of the post. 

Nos. 792-798. Wooden utensils for the table, together with a gof- 
fering iron. The smaller trencher in the foreground is a humorous 
example. The author remembers, when a boy, going on one occasion to 
a farmhouse for dinner where, after the meat course, the family, follow- 
ing the example of the head of the household, all turned their plates 
bottom up and received their pie on the new surface. Do not, gentle 
reader, criticize the neatness of this proceeding! Our ancestors were told 
to “lick the platter clean.” This little trencher is frankly built to be 
used on both sides, being hollowed unmistakably for that purpose. 

The large trencher just behind it is precisely in the shape of a modern 
soup plate, and is the finest piece of the kind that we have met with. The 
other pieces with covers may. be called tankards or any one of various 
other names. The left hand piece is prettily inlaid in a diamond out- 
line of white wood. It will be seen that in both instances one of the 
staves is made very narrow and so shaped as to provide a handle. The 





788. TresTLE Frame Tavern Taste. 1670-90 





789. Smarty Tavern TABLE. 1700-30. 790. Ati TurNeEp Stanp. 1690-1700. 





791. TRrestte Tavern Taste. 1670-90. 





792-98. FLounce Iron, TRENcHERs aNp Noccins, 


FURNITURE OF THE PILGRIM CENTURY 535 


goffering iron is cast and set on a brass standard. One heated the re- 
movable interior and then, thrusting it into the pod, secured a rounded 
surface for ironing the flounces and furbelows of that generation. 

No. 799. An oval stand or small tavern table with all legs raking. 
It is of maple and belongs to Mr. Edward C. Wheeler, Jr. 

Size: The top is 183 by 254 inches. The hight is 212 inches. 

No. 800. A table with a triangular frame and a circular top. The 
cabinet work of a triangular table was more difficult than that on a 
square frame. Such a.piece, however, has esthetic uses and, practically, 
the long segment of a side affords a greater overhang than is usually 
found in small tables. Such tables as a rule have no drawers. 

Owner: Mr. Chauncey C. Nash. 

Size: 283 inches in diameter of top. Hight, 25 inches. 

The date is about 1700. 

No. 801. A triangular table frame with raked legs. This is a 
light example, the property, with its furniture, of Mr. B. A. Behrend. 
One sees hanging from the edge a double bowled Betty lamp, the lower 
section being built to catch the drip of the upper part. There is, above, 
a candle stick with a curious handle which would allow it to be hung on 
a hook as a sconce. The other piece is a sand glass. The date of the 
table is about 1700-1720. 

No. 805. A larger and heavier triangular table with the round top. 
It was in the author’s former collection. It is all original. In many 
cases feet have to be restored. Of course, the advantage of raking the 
legs was found in increased stability. One sees that the stretchers are 
molded, as is also the frame. 

Nos. 806-808. We have our first example of the adjustable candle 
stands. The arrangement by which the central shaft could be lifted 
was a ratchet and pawl. The base is a large block of wood made 
frankly in this shape to secure stability. The candles were of course 
placed at the ends of the crossbar. The lower standard is of pottery, 
from Virginia. It is of red clay with a coarse black glaze, and is from 
the old pottery, formerly at Morgantown, now West Virginia. It is 
similar in texture to the folk pottery of New England and Pennsyl- 
vania. These three articles are the property of Mr. H. W. Erving. 

No. 809. This is a very quaint ratchet candle stand on stick legs. 
The candle is set immediately on top of the small shaft. 

~Owner: Mrs. J. Insley Blair. 

No. 810. A stand of delicate turning and a series of ogee scrolls. 
The drawer is false, and the knob is original, the table never having 
had a drawer. While this stand boasts no remarkable feature as a whole, 


536 FURNITURE OF THE PILGRIM CENTURY 


it is very attractive, being quite perfect, and in maple, the wood we best 
love for such purposes. 

Owner: Mr. Edward C. Wheeler, Jr. 

Size: The top is 16 by 25 inches, and the hight is 244 inches. 

Nos. 811-814. In the first of these reproductions we show two iron 
latches. Plate latches with springs were in use from about the year 1740 
down to 1790. Asa matter of fact they are found in use for the simpler 
rooms of many fine dwellings. 

No. 812 is a little candle stand with a heavy X base and with candle 
bar in the form of balls. A third candle was set on the top of the shaft. 

No. 813 is a small embroidery frame. There is a very perfect uni- 
versal joint, or ball and socket joint, as it is sometimes called, with a 
wooden screw to set it. The feet are attached like the legs of a Windsor 
stool. The frame could be swung at any angle toward the operator, 
and the hands could reach under the piece to be embroidered, which was 
placed over the frame, previously covered, as we have seen, with cloth; 
and another hoop was placed over it to hold it taut. 

No. 814. The most interesting of all the pipe tongs which have 
come to our attention. They are made in a square section and not round, 
as are several of the other similiar examples. The shape of the scroll 
and of the thumb piece for pressing down the tobacco, and of the nail 
which was a guide for the cleaner for the bowl, are all clearly shown. 
The tongs bear on their side a legend stating that they were captured at 
Fort William Henry. They are shown here as they hung in the old 
Williams House, South Easton, Massachusetts. They are understood to 
belong now, by inheritance, to Mr. Fred H. Williams of Boston. 

No. 815. An oval maple stand. 

Owner: Mr. Edward C. Wheeler, Jr. 

Size: The top is 183 by 274 inches. The hight now is 203 inches, 
to which we should add some two or three inches for the feet, which 
are lost. The turnings are delicate. One sees in this table the usual 
cleat which runs across the frame of oval tavern tables, and is set its full 
size into the frame. It is to prevent the breaking off of the edge of the 
top, and is very necessary. The heavy stretchers are plainly early. 

No. 816. A burl bowl, remarkable for its size, although there are 
larger; but more remarkable for its shape, worked out by hand. The 
burl often grew so large that the side of it next the tree was of a hollowed 
section. The maker of this piece took advantage of that fact to carve 
ears. 

The wood is probably maple, though others in the author’s possession, 


4 











800. 


19°: 


TRIANGULAR TABLE. 


SpLAYED TavERN TABLE. 


metls Sena ee 


1690-1710. 


1680-1700. 


801-4. 





Raxep TRIANGLE TABLE. 





806-809. 








Been | 
a | 


=nonermumeremeeein ten 


Ser RET 





Ratrcuet anv Porrery SrTanps. 





Iron LatTcHEs, 


811-814. 





Mareie Taste witH Fause Drawer. 


sont seit e 


| 


Wooven Stanparv, EmsBrorwery Frame, Pire Tones. 


1690-1720. 





816. 





Great Burt Wroucut Bow. witru Ears. 


Bret poi, 





FURNITURE OF THE PILGRIM CENTURY 541 


with nearly the same figure, are pronounced ash by such good judges of 
wood as Mr. Henry Ford. 

The diameter of this piece is 23 inches. 

Mr. Luke Vincent Lockwood has a bowl, turned, of a diameter of 
about 29 inches, from the author’s former collection. These are the 
largest we have found. A few years since, these bowls were knocked 
about as encumbrances. ‘The author found the largest specimen at a shop 
conducted by a person notorious for getting the full value for his goods; 
nevertheless, he was willing: to be rid of the bowl at a ridiculously small 
figure. Those were the happy days! 

No. 817. We have previously shown several tavern tables with high 
stretchers corresponding in design to the medial low stretcher. In the 
example before us, we have a very aristocratic specimen. In addition to 
the usual ball turning, it has at the centre of the turning a double vase 
motive. A molding carried about the frame is another refinement. The 
skirt or valance, as it is indifferently called, on the frame, is cut in very 
handsome brackets and scrolls. The drawer is provided with the side 
grooves. 

This table is from the Prouty Collection, and has been previously 
illustrated. 

Nos. 818-820. A remarkable, and as far as we have learned, unique 
set of hardware in the tulip-bud pattern. In a decorated chest of drawers 
shown we have a tulip-bud of precisely the same contour as that which is 
here wrought in iron. The scroll of the latch-bar is a large spiral. The 
bar, indeed, is altogether the most remarkable we have ever seen. We 
see here for the first time that, in the best early hardware, there was a 
purpose to match the hinges with the latch, carrying the same motive 
through all. 

We are not aware that attention has previously been called to the 
matching of the design of latch and hinge. 

No. 821. A high stretcher tavern table with ball turning and pierced 
brackets. This fine example is practically all original. It is the prop- 
erty of Mr. Chauncey C. Nash. 

While a trifle simpler in some respects than the example preceding it, 
this table has the unusual feature of the pierced bracket. As an amusing 
instance of the rapid increase of appreciation in such a piece of furniture, 
we may say that this table, as soon as found, changed hands five times in 
five days, the owners being in three states. It has since been sold twice. 
Were it supposed to be on the market, undoubtedly buyers would stand 
like dogs at a woodchuck hole for an opportunity to seize it. 

In this connection, we have an opening to answer the question so often 


542 FURNITURE OF THE PILGRIM CENTURY 


asked, why there are so many antiques. The answer is to be found in 
the death of collectors and the consequent dispersal of their treasures. 
It is also to be found in the occasional financial embarrassment of collec- 
tors, for they are not all millionaires. Some of us have court cupboard 
tastes and pine cupboard pocketbooks. Another explanation is to be found 
in the unwisdom of collectors, which often permits them to resign pieces 
whose importance they are not keen enough to know. While this is an 
unusual circumstance, it is more apt to occur in the case of the more 
important pieces, as in that of some we could mention, but, frankly, we 
would not dare. Again, dealers sell, the small to the great, and so the 
process goes on, until at last, little by little, such things are caught in 
the drag net of the museums. But be it understood they are not bought 
by the museums, who either never have funds for such a purpose, or, if 
they possess the funds, they lack the quickness to seize their opportunities. 
They achieve their greatness through the gifts of their friends. 

Thus, through the reasons we have mentioned, and by sickness and 
by accident, and by cupidity, the same piece sometimes comes often into 
the market. In this manner one of the best articles known has changed 
hands nine times in four years. 

No. 822. A beautiful and rarely outlined little table belonging to 
the estate of George F. Ives. Except for the loss of its feet, it is in 
fine condition. The turnings are bold for so small a piece, the stretchers 
beautifully agreeing with the legs. The scrolls on the frame are differ- 
ent on the legs and on the side. The narrowness of the frame and the 
depth of the scrolls forbade a drawer. 

No. 823. A walnut table. 

Owner: Mr. Edward C. Wheeler, Jr. 

The frame is scrolled, and we find a molding run about it, adding to 
its importance. Though the feet are missing, the bottom stretchers still 
stand up well from the floor. The turning resembles that of No. 817, 
and the scrolling on the skirt is slightly suggestive of that, as is also the 
molding. One can see from that example how the feet of this appeared. 

Size: The top is 13} by 233 inches, and the hight is 25 inches. 
Probably, in modern phrase, the table would be called a stand. 

No. 824. A bobbin reel. We moderners should distinguish between 
this and the spinning wheel. It was merely to wind the bobbins for the 
loom, and was used in the seventeenth and eighteenth centuries. . 

No. 825. A small table with a square frame and an octagonal top. 
The piece is very perfect and has neither been tampered with nor restored, 
nor does it require it. The paint, however, might be washed off, as it 
shows now in two colors. The points of merit are the boldly scrolled, 
though simply shaped skirt, and the unusual shape ofi the top. There is 





817. Hicu SrreTcHEeR ScroLtep Sxirt Tavern Tasie. 1680-90. 





818-820. An Unique Tuuie Bup Door Ser. 18th Cenrury. 


ba is 





821. Hicu Srrercuer, Piercep Bracket Tavern TaBsie, 1680-90. 





822. Aryi Turnep Scrottep Sxirt Tavern Tasie. 1690-1710. 





823. Hicu SrreTcHER, ScroLtLED Sxirt TAavERN TaBLE. 1690-1700. 


a 





824. Bossin WueeL. 17th anv 18th CENTURIES. 


825. 


Octacon ScroLitep Sxirt Pian StretTcHer TAs.e. 


Pe ee 


LN Sa 


826-828. HarpsicHorp anp Cane Cuairs. 


1690-1700. 





Nati ie ik BL SUI e! 


SE Cas 





ets Ps et a 








FURNITURE OF THE PILGRIM CENTURY 547 


much satisfaction in a piece of furniture that may be left wholly as 
found. We discovered this piece in Plymouth in 1921. 

Size: Top, 27% inches across. The frame is 214 inches square. The 
hight is 264 inches and the table was probably not more than about half 
an inch higher originally. 

Nos. 826-828. Large musical instruments of our period perhaps 
cannot be counted American. They were, as we suppose, imported, but 
their frames are American. We merely glance at the subject, and show 
two or three examples. — 

No. 826 is called a harpsichord. It is in the great room of the 
Benning Wentworth house at Newcastle, New Hampshire. One sees 
that the base is of a simple character. It is flanked by a good pair of 
chairs. The right-hand one has unusual and very interesting carving 
on the stretcher. 

No. 829. A spinet which the author bought at Haddam, Connecti- 
cut, from the family in which it had been from time immemorial. The 
instrument was made in London by Jacobus Kirckman, about 1690. One 
should take note that the numbers on spinets have been mistaken for 
dates. The frame of this spinet is simple. The instrument was made 
to lift off from the base, and was not attached in any way. There were 
small spurs, like nails, filed to a point, on the frame, which so far en- 
gaged the body of the spinet when it rested upon the frame as to prevent 
its slipping. The shape of this instrument is quite like that of a small 
grand piano. It is light enough to be lifted and carried by one man. 
It is said that it belonged to the niece of David Brainard, a missionary 
to the Indians in Connecticut. 

No. 830. An interesting spinet because of its extremely elongated 
Spanish feet, cut in very good pattern when their length is considered. 
This spinet, formerly in the author’s collection, is, we believe, now the 
property of the Brookline Public Museum. It was made by Thomas 
Hitchcock. The date is about 1690. The wood is walnut with inlays 
in front. 

The tops of these instruments were so thin that in many cases warp- 
ing cannot be prevented in a modern house. The only method of over- 
coming this permanently is to make a series of very fine parallel cuts on 
the under side, and then to bring the top to the proper shape and glue 
it. The method of straightening curved woods by flame is very unsatis- 
factory. After a while the ancient warp will reassert itself. Old wood 
is like an old man —practically impossible to reform. We have seen 
so much useless effort put forth in the straightening of warped boards, 
that we are induced to make this remark. 


SLATE TOP TABLES 


STIL more rare than a chest-on-frame, and with less reason for 
existence, is the slate top table. The top consisted usually of an oblong 
surface of slate with chamfered corners, which was set flush into a 
frame of veneered walnut. The object of the slate top was to provide 
a surface for tea things, and so to save the disfigurement of a wood top. 
The veneered edge, however, was about five inches wide and was par- 
ticularly susceptible to injury through wetting. The designers, there- 
fore, of these tables placed their patrons in a worse plight than would 
have been the case had they never owned them. 

It is said that the tops were made on the Continent, perhaps in Switz- 
erland, or in Italy, and that the frames were made here. Very few ex- 
amples, possibly a half dozen, are known in America. We presume that 
owing to their lack of appeal to common sense, and also owing to their 
extreme delicacy, few were made, and that when they were made they 
were not preserved for any length of time. 

In one respect, however, we are quite thankful to the makers, because 
the style of these tables showed exquisite taste, and indicated that Amer- 
icans in the seventeenth century knew what was what in the matter of 
elements of style. We cannot point to anything made since that period 
more charming, airy and dainty in outline. 

No. 831 illustrates such a table, owned by the Antiquarian Society at 
Worcester. The turning is in the fashion of the gate-leg or of a very 
dainty tavern table of the period. 

No. 832 is the top of the same table. It appears that a portion of the 
slate isnew. The inlay is of an intricate and delicate pattern. Of course, 
we do not certainly know that the tops were not made here. There were 
‘cabinet makers capable of doing the work, since the method was similar 
to that in use on the walnut veneer highboys. The pattern, however, is 
more involved than that in use on highboys. This example has been 
shown in other works. 

No. 833 is quite a different pattern of a slate-top table. The trumpet 
turning is especially delicate and fine. The feet, attached below the 
stretcher, which is a double lyre shape, are scrolled in bold curves and 
are doweled to the post through the stretcher. There was a finial at the 
intersection of the stretcher arms. 

548 


829. 


SPINNET FoRMERLY OWNED 


; 


py Niece oF Davin BRaAINaRD. 


830. SpinneT wiTH SpanisH FEET. 1690. 





1690-1700. 





ete: a eee tt a 





831. 


sb aa ah SOeciaivisaa tk nil he Ah sei TLLE Aaa Ne heb adobe Maal 





SLaTE AND VENEER Top Tera. TaBLe. 1690-1700. 





832. THe Top or Tasre SHown ABove. 





BN ce oe | 





833. Warnut Trumpet Turnep X SrretcHer Scrottep Foor Tra Taste. 





834. SiaTE aND VENEER Top oF Taste SHown Apove. 1690-1700. 





836. 





” A, . 
Ae ee i ee 


i ee ee en ee 


835. ScaLLtopep Skirt Tea Taste. 1690-1700. 





SLATE AND VENEER Top oF TaBLeE SHowNn ABOVE. 





FURNITURE OF THE PILGRIM CENTURY 553 


No. 834 is the top of the same table. The inlay is a very intricate 
and minute design, and has suffered through wetting, as we have indi- 
cated that it was likely to do. 

The original slate entire is in place, although it 1s cracked. Below 
the slate there is a series of slats to réenforce the back. The slate is so 
very thin that we presume the slats are original. Otherwise the top would 
have broken under slight pressure. 

The wood is walnut, except, of course, the portions of the veneer, 
which are of other colors. ‘This table is reputed to have been found near 
Boston, where it was bought, in 1923. 

One notices at once the analogy between the turnings of these pieces 
and those of the six-legged highboy, and its lowboy to correspond. There 
is so little data on which to generalize that we cannot be certain where 
such a piece as this would be kept in a dwelling. In size, it is not very 
different from a lowboy. In the same room, the two pieces would com- 
plement one another and add very much to the charm. 

Size: The top is 24% by 34% inches. The hight is 26% inches. 

No. 835. This specimen of a slate top tea table is in better condition 
than the others. 

Owner: Mr. Daniel Staniford of Boston. 

Its turnings are similar to those in No. 831, but just a trifle heavier. 
We believe that in spite of the fact that we show two of these tables with 
gate-leg turnings, a greater number of them are found with the highboy 
turnings. 

This specimen has a symmetrically scalloped valance under the 
drawer. The original handles assist us in forming conclusions as to the 
date. 

The top has its original slate, which is far heavier than that in the 
last example described. The veneer in the design on this piece, however, 
‘5 confined to one section of the top as seen. The veneer appears to be 
in apple wood. The stretchers are deeply and delightfully worn on three 
sides. The fourth side shows practically no wear. The grandfather of 
the owner of this table taught school, it is said, using the table for a 
desk. 

Size: Top, 25 by 40 inches, the width of the board outside the slate 
being 54 inches. The frame is 25 by 194 inches. The hight is 28 inches. 

Of course the rarity and the beauty of these tables make them desir- 
able in the eyes of collectors. 


LOWBOYS 


Tuis is another term for dressing tables. It is supposed to have arisen 
in jest, with a sly slur at the legs of these pieces and their correspond- 
ing pieces, the highboys. Lowboys are usually found in solid or in 
veneered walnut, when in the type of turning which corresponds with the 
earliest period of highboys. It was the time of the brass drop handle. 
The pieces are rather delicate and, as in the case of the highboy, they 
have for the most part been destroyed. Strangely enough, they are much 
more rare, and therefore more highly valued, than the highboys. It is 
very seldom nowadays that an example comes to light. 

No. 837 is a lowboy with very curious and interesting turnings. 

Owner: Mr. John H. Halford of Norristown, Pennsylvania. 

We notice an extra member in the turning of the legs which is quite 
different from that in the usual lowboy, and follows no recognized type. 
It is quite as if a larger urn were superimposed upon a smaller one. It 
is characteristic that the feet should be large, as here. In fact, the diam- 
eter of the turning on the foot is as large as the largest section of the 
leg above. 

We presume that this piece originally had drops on the spaces which 
correspond above to the positions of the legs on the six-leg pieces. Of 
course, the object of omitting the two extra legs on the lowboy was to 
allow the knees to go under the piece. For the same reason the X 
stretcher was employed. As in the case of the highboy, there is a lining 
of walnut about 4 inch thick on the intrados of the arches, with an 
astragal molding on the outside. Of course, the object of this was to 
give a fine finish everywhere and to avoid the appearance of any end 
wood. The drawer scheme in this piece, a narrow drawer at the center 
and two deep drawers at the side, is the usual arrangement. One notices 
a cupid’s bow or double ogee mold on the frame at the ends and an ogee 
arch in the center in front. This central arch was as a rule cut higher 
than the side arches, for the sake of leg room. 

Nos. 838-843. The parlor of the Alden House at Duxbury. An 
important element of interest in this room is the flat arch over the fire- 
place. This is quite unusual, so much so that we have been guilty of. 
stating that it never occurred. We have now found at least two examples, 
the other being in a house in Hanson. Of course the panel work was not 

554 





1690-1700. 


X SrrETCHER Waxtnut Lowesoy. 


837. 





“ Joun AtpEN House” Parzor, Duxsury. 


838-843. 


844. 





Mes. 


Cross STRETCHER Cup Turnep Lowspoy oF WaLNnut. 





1690-1700. 





Att TurNeEp STanp. 1700. 846. TurNEp Sranp, 1690-1710. 


naan ieee 


ED Nie. ea 


trl OR an eg CN 








847. Bowt Turnep Lowzoy with Drops. 1690-1710. 





848. Carvep Foot Srove. Earty 18th CENTURY. 


849. 





X StrercHeR Trumpet Turnep Lowsoy. 1710-20, 





850. 


LacquERED Cross STRETCHER TABLE. 1690-1700. 


FURNITURE OF THE PILGRIM CENTURY 559 


original with the house, a bedroom of which we have already shown, and 
the date of which is supposed to be 1653. Panel work was added in dwell- 
ings of this sort beginning about 1720. 

The pieces of furniture shown might have been in the house about 
1720. The floor candle stand, with its inverted and weighted funnel 
base, is a type frequently found. 

No. 844. A lowboy from which the drops on the front skirt are 
missing, but which has its finial at the intersection of the scrolled stretch- 
ers. The turning here corresponds with that of highboys of the inverted 
bowl or cup turning. The veneer is walnut with herringbone border. A 
single arch mold (astragal) was used a little earlier than the double arch 
mold. The bail handles with ornamental surfaces are of somewhat later 
date than the drop handles. This piece was bought not far from Boston. 
Certainly New England did possess a good number of lowboys. 

Nos. 845-846. We insert here, for convenience, two stands, both 
of which are owned by Edward C. Wheeler, Jr. The turnings are 
dainty. That on the left has a drawer. We believe the top is too small. 
This stand is only 31 inches in hight. The piece on the right is of 
maple, in beautiful condition, and has plain stretchers. The top is oval 
and measures 17 by 233 inches, and the piece is 234 inches high. The 
dates of both pieces range between 1690 and 1710. 

No. 847 is a walnut cross-stretcher lowboy. 

Owner: Mr. Edward C. Wheeler, Jr., of Boston. The huge middle 
drop is a striking feature and an amusing instance of how style dominated 
and pushed convenience to the wall in those days, as now. The basal 
scheme of a lowboy was to afford room as a dressing table. Of course one 
could not sit at such a table as this, and although we have named it a low- 
boy, we are more inclined to believe, since it has a single long drawer, and 
this peculiar conformation on the front, that it was merely a small table. 
This judgment does not at all detract from its importance. We shall later 
show another table of this type, certainly not designed as a lowboy. It 
will be seen that the larger drop is simply a reversed finial, a duplicate 
of that on the intersection of the unusually elaborate cross stretcher. 

No. 848. <A carved footstove, the top rosette being pierced for the 
sake of ventilation. 

Origin: Pennsylvania. 

Footstoves like this, carried in vehicles and taken into church, are still 
common enough because they are curious articles and, being small, they 
could easily be preserved. In this elaborate form, however, they are rare. 
We have seen another somewhat similar to this. It has a slide in one side 
to insert the tin container for the charcoal. 


560 FURNITURE OF THE PILGRIM CENTURY 


The top measures 9 by 84 inches, and the hight is 74 inches. It is of 
walnut. The date is uncertain, but probably in the eighteenth century. 

No. 849. A trumpet-turned lowboy of walnut. 

Owner: Mr. G. Winthrop Brown. 

It has the double arch mold. The finials are interesting, being rather 
different from those we have seen. In fact, we hardly understand the 
motive. This is the first example in which the scroll stretcher has been 
at all simplified. The feet here are somewhat smaller than the other 
examples shown. 

One should note that even in the walnut furniture the legs, especially 
in the highboys, are often of a lighter wood than walnut; basswood or 
poplar being often found. The turned section was sometimes painted, and 
naturally, being ornamental in its nature, it did not require the veneer 
which was applied to flat surfaces. 

One sees here the thumb-nail molding, as is usual on the top of these 
pieces. 

No. 850. A cross-stretcher table in maple. There is a label on the 
back of the drawer: “Table made 1700. Gilt 1847.” The author was 
advised to remove the lacquer. The attempt, however, to do lacquer work 
in America at so late a period is thought to be sufficiently interesting to be 
allowed to remain, especially as it is rather successful. 

We believe that the turnings are in pine. The drawer bottom is of 
pine. Obviously, this table was not made as a lowboy. It is much rarer 
than the lowboy. It forms, with the cross stretcher desk, stools, lowboy, 
slate top table, highboy and chair table, one of a large series of cross 
stretcher objects of sufficient number to furnish a room. 

Size: Frame, 174 by 244 inches. It is 28 inches high. 

No. 851. A beautiful little lowboy of cherry. 

Owner: Mr. Chauncey C. Nash. 

This piece is one of the few of the period in cherry, with which we are 
acquainted, and it is the only lowboy we have encountered in the six-leg 
style. The turnings are odd and interesting. It was found in Stratham, 
New Hampshire, in the family with which it had always been. For a 
long time collectors declined to take it as the price was regarded as pro- 
hibitory. Any collector at the present time, however, would be only too 
glad to secure it. It was originally owned by Anna Rush, whose monu- 
ment, erected by the women of Stratham, is in the cemetery. 

The piece is all original, neither needing nor having had repairs. 

Size: Top, 203 by 343 inches; hight, 304 inches. The frame is 174 
by 294 inches. 

One should take careful note of the shape of the scroll in the stretchers, 


very specmemmctiet see 





1710-20. 


Uniove Six Leccep Lowsoy oF CHERRY. 


851. 





18th CENTURY. 


Tavern Taste, Drop Lear. 


852. 





853. Unique Burrerrry Tasir. 1690-1700. 





854. Waxtnut ScroLiep Sxirt TaBiE, 1710-30. 





855. Burrerrity Taste witH Drawer. 1700. 





sa iran nila He 


a iS tees at ai 


856. Larce Burrerrry TaBLE wITH Piercep Rinc. 1700. 





857. Burrerrry Taste, Crane Bracker. 1700. 





858. Square Posr Tasue. 859. TrestLe Foor Sranp. 


FURNITURE OF THE PILGRIM CENTURY 565 


which is designed to follow the outlines of the skirt above. This is the 
proper style, followed also on the end stretchers. 

No. 852. Placed here for convenience is an odd example of a light 
tavern table with a drop leaf, which, it is claimed, is original. It is in the 
same wood and color as the top leaf and it is possible that it may be 
original. Much discussion has arisen as to whether single, or in fact, any 
leaves ever appeared on tavern tables originally. The author doubts their 
originality unless some of these tavern tables were made along toward 
the middle of the eighteenth century, as perhaps this example was. 


BUTTERFLY TABLES 


‘Tus class of tables, about which a good deal of sentiment seems to 
gather, is a curious instance of the fact that some little detail of construc- 
tion may make a certain class of furniture very much sought for. While 
these tables are thought by some to have originated in Connecticut, they 
are found in sufficiently large numbers in eastern Massachusetts and 
southern New Hampshire to induce the author, at least, to believe that 
they should not be confined to Connecticut origin. 

The name of course arises from the outline of the bracket which sup- 
ports the leaf. In the earliest types we think the bracket was rather simple. 
These tables are found with both plain and turned stretchers, the turned 
stretcher being very rare. A characteristic of most examples is the rake of 
the legs one way. In this respect these tables are like many tavern tables. 
The collector, therefore, should be warned that it is a favorite trick of 
furniture forgers to place a butterfly top on the splayed leg frame of a 
small tavern table. One needs to be somewhat keen in the matter to avoid 
the fraud. 

We may not have a better opportunity in this book to point out the 
rapid increase of spurious pieces of furniture in America. Twenty years 
ago the values of this furniture were so small that there was no inducement 
for the unscrupulous to forge the originals. With the present very high 
prices, however, there is a powerful stimulus in the underworld to supply 
the buyer with what he wants. Within the past two or three years we 
have encountered pieces sought to be passed off, which were constructed 
with the utmost skill, so as to rival the English imitations. We have in 
the past looked across the water for the masters of this depraved skill. 
A school, however, is being built up in this country that may soon rival 
its co-workers in the Old World. 

We have long been accustomed to look askance, habitually, at furni- 
ture from the Continent, especially from Italy. We may now proceed 
with the greatest circumspection in relation to American pieces, especially 
if they are of the class now counted valuable. 

One needs to have very much more acquaintance with old furniture 
than that possessed by the average collector, to detect a good counterfeit. 
It is one thing to be deceived ourselves and an even worse thing for a 
person to buy and present to a friend a counterfeit piece, under the 
supposition that it is real. Such an instance came to our attention. 

566 


cael 


; 
; 





1700. 


E. 


Batt Foor Taste Cupsoarp, AND Butrerrry TaBi 


860-861. 





862. Burrerriy Tassie, OricinaL Tor. 1700. 





863. Drop Lear Triancutar Taste. 864-867. Sprayep ScroLLep TaBLe. 


868. 


BurreRFLY TABLE wiTH DRAWER. 


869. Licur Burrerriy TasLE. 1700. 





1700. 





870. 


871. 


BuTTERFLY TaBLE wiTH Drawer. 


VerticaL Lec ButTrerFLty TABLE. 


1700. 





1700. 





87 


2 





TrestLE ButrerFLy TABLE. 1690-1700. 





873. SrroncLy FEaTURED Burt Bowl. 





ee Deis Low erp kg: salt Mra 


874. TRestLe Burrerriy TasiE. 1690-1700. 





875. Open Bracket VERTICAL Lec ButTTrerRFLY TaBLE. 1700. 





876. Butrerrty TaBLe wirHour Drawer. 1700. 





877-878. Curxinc Irons. 


FURNITURE OF THE PILGRIM CENTURY 575 


No. 853. A table supposed to be unique, and having elements that 
suggest the gate-leg. 

Owner: Mr. H. W. Erving. The turnings, like the best gate-leg 
turnings, are carried out on the swivel framework used to sustain the 
leaves. There is a strut on a wedge shaped member which shuts into a 
slot in the frame, as shown. This piece is of the highest importance. It 
has been illustrated before. It suggests to us the style of the crane 
bracket, two examples of which will follow. It was, of course, necessary 
in this construction to make the bracket in the form of a T, cutting away 
the section that is to turn under the frame. The design is certainly of 
great interest, and quite successful. 

Size: Of top, 33 by 37 inches. 

No. 854. For convenience, we insert here a Pennsylvania tavern 
table, whose valance or skirt is cut in an odd series of curves, more attrac- 
tive on the ends than on the front. Though the feet are lost, this table 
is an interesting specimen. One sees here the somewhat flat turnings, often 
characteristic in the legs of the Pennsylvania walnut tables, such as this is. 
It was in the author’s former collection. 

No. 855. A butterfly table with a good style of wing. One should 
here take note of the purpose of the raked leg, to form a wedge shaped 
frame. The wing or bracket which sustains the leaf is attached to the 
stretcher by the prolongation of the lower end, in the form of a dowel 
entering the stretcher. Above, in order to form a long bearing for the 
bracket on the leaf, the bracket is run past the frame up to the top, where, 
on the back edge, it engages with the fixed central board of the table with 
a dowel and bored hole similar to that below. Thus the bracket can be 
vertical, or nearly so, on the back. The turnings of this table are somewhat 
heavy, and may indicate an early period. The feet are partly worn away. 
One sees the overlapping drawer. The wood is maple, as usual. 

No. 856. A large butterfly table, the property of the Rhode Island 
School of Design. It was in the author’s former collection. It is the 
only example with which we have met having square leaves. We were 
never satisfied whether or not the top was original, but we have been as- 
sured that in this specimen it is. This table has an interesting detail in 
that there are sockets cut in the ends of the frame under the fixed portion 
of the top for the insertion of extended cleats to support an additional 
leaf. These sockets, however, are undoubtedly subsequent to the making 
of the piece. Thus a dining table of a good size was obtained. An 
interesting peculiarity of this piece is the cut out circle in the bracket, 
to give it a lighter effect, and some mark of ornament. 

The wood is maple. 


576 FURNITURE OF THE PILGRIM CENTURY 


No. 857. A curly maple butterfly table with crane brackets. 

Owner: The estate of Mrs. Reinholt Faelten of Boston. 

The design of the brackets is admirable, though of course the effect 
of a butterfly wing is lost. Further, in construction there was a good deal 
of extra labor involved through the framing of the brackets. 

Curly maple came into use, in some instances, before the close of the 
seventeenth century, we suppose. It is a beautiful material, and deserves 
much attention, such as it is receiving in these days. The principle of 
decoration is against the use of curly maple in a turning, as a turned piece 
of wood is decorative in itself and the double decoration at the same point 
is questionable taste, as well as being confusing to the eye. As a conse- 
quence, a curly grain in a turning, while frequently seen, cannot be counted 
as a point of merit. However, the makers as a rule avoided this curly 
grain because it was a very refractory material. Even on a plain surface 
it is impossible to smooth it except by grinding. Indeed, one of the charms 
of curly maple pieces is the ridgy effect apparent to the fingers when run 
over the surface. 

Size: Top, 265 by 35 inches; hight, 254 inches. 

No. 858. A stand whose square posts are chamfered. It came from 
the Churchill family, Newington, Connecticut. The top and drawer are 
of pine, and the top has gouge carving at the ends like that seen on many 
chests and boxes. It is the property of Mr. George Dudley Seymour, and 
is in the Wadsworth Atheneum. 

Date: about 1700. 

No. 859. An interesting little table owned by Mr. Chauncey C. Nash. 
One might almost call the shoe an instep foot. The openwork at the 
ends, cut in the form of a semicircle, is identical at the top and bottom. 
The material is pine. It would be fair to call this little piece a trestle 
table. 

Date: about 1700. 

Nos. 860-861. The former number is that of a small table cupboard 
with ball feet. It is the property, with the table on which it stands, of 
the Rhode Island School of Design. While we do not know the origin, 
we surmise it is from Pennsylvania. 

The butterfly table below is small, and the curve of the brackets is 
plain. 

No. 862. A maple butterfly table of good size. It has a drawer with 
knob and is all original, but lacks the balls on the feet. The tongued 
and grooved joint at the meeting of the leaf and the joint of this table 
is counted desirable as a mark of date, yet the date is not to be precisely 
fixed. We look for this joint, however, in furniture, before 1730. 





879. TrestLE Taste witH Leaves. 1690-1710. 





880-883. Snow SuHoEs, SHOVEL, Cuurn anp Hoiitowep BarrEL. 





Saini a Ee atin Cea wale 


884. Att Spray Leccep, Scrottep Sxirt, Drop Lear Tas.e. 1690-1700. 





885-886. Two Turnep Sranps, Prain STRETCHERS. 1690-1720. 


888-889. 


887. Smart Cross SrRETCHER STAND. 





Darx LANTERNS. 








890-891. 


1690-1700. 





Iron Fioor STANDs. 


SLES GEIR Te Ee LN NMR DE TTT NBN TID A 








tc ana 





SEH TEE Tei eam 


Screw StTanp. 


893. 


1690-1740. 


Screw CanpbLe STanp. 


892. 


FURNITURE OF THE PILGRIM CENTURY 581 


A feature of these tables, which we have not pointed out, could never- 
theless be deduced. That is to say, the sides of the drawer slant inward 
to match the slant of the frame. Under the drawer there is often a thin 
rail or slant running lengthwise of the drawer to sustain it. The handles 
should always be small wooden knobs. When the table is very small there 
may not be room for a drawer. 

Size: Top, 404 by 454 inches. The width of the central board is 144 
inches. Hight, 253 inches, to which we suppose an inch and a half should 
be added for the lost feet. 

No. 863. A table with a round top and three drop leaves and tri- 
angular frame. It is owned by the Metropolitan Museum. 

A feature of much interest is that the top is set on a swivel and that, 
when it is swung, the three leaves, being relieved from their supports 
formed by the angles of the table, fall as soon as they have reached the 
sections made parallel with them by swinging. We have never seen an- 
other table of this character, though we have heard a report of one or two. 
In this instance, one notices two ball turnings at the feet, a rare thing. The 
posts here are vertical. In some of the previous examples they are raked. 
The date is about 1700. 

Nos. 864-867. A square table with all legs raking. On two sides 
there is a scroll on the skirt. These tables are considered somewhat im- 
portant and are not usual. Resting on the top are a noggin, a canteen, and 
a small tub. 

No. 868. A butterfly table belonging to Mr. George Dudley Sey- 
mour. Curiously, the drawer seems never to have had a handle. One 
notices here a greater degree of elaboration in the contour of the butterfly 
wing. This specimen is of cherry. It is from the Captain Churchill House, 
Newington, Connecticut. It may have belonged to his forbears. The table 
is absolutely original, including its feet. The leaves are hung on large 
butterfly hinges. We should note, when we mention these hinges, that 
their name has nothing to do with their use in connection with a butterfly 
table. Mr. Seymour has a companion cherry butterfly table, also from the 
same house, which table has a rectangular top. 

No. 869. A small butterfly table of good design, though simple. 

Owner: Mr. H. W. Erving. 

The long pear shaped feet correspond with the turning. 

No. 870. A butterfly table from the collection of Mr. B. A. Behrend. 

The wear of the stretchers is especially noticeable. The table is small 
with the usual oval top. The wood is maple. : 

No. 871. A butterfly table which varies from those we have shown 
in having a vertical frame. It was necessary therefore to change the con- 


582 FURNITURE OF THE PILGRIM CENTURY 


struction of the wing, the upper part of which must engage with the under 
side of the frame, owing to the vertical construction. We have here, then, 
a wing suggestive of the first table shown under this heading. 

No. 872. A combined butterfly and trestle-table. These are among 
the rarest of all American furniture specimens. The trestle foot is cut 
here in the form of a simple arc, and the stretcher is turned. The butter- 
fly wings are not contoured, but are cut in a perfectly simple triangular 
form. It will be noted that on the upper part of these wings a portion 
of the triangle is cut away, and the part left is thinned to a bevel, so as to 
admit of the closing of the leaf. When the leaves are down, the table is 
only 74 inches across the top. 

The source of the table is eastern Massachusetts, near Boston. 

Size: The top is 31 by 26 inches. Hight, 234 inches. The spread 
of the trestle shoe is 14 inches. The square of the posts is 13 inches. It 
is 84 inches from the top of the stretcher to the floor. The width of the 
frame is 184 inches. 

The hinges seem ancient, very. Nevertheless, the joint of the leaves 
is plain. 

No. 873. A large, beautifully featured bowl of burl, one of fourteen 
in the collection of the author. 

No. 874. A trestle and butterfly table. 

Owner: Mr. Dwight Blaney. 

The feet are somewhat more ornamental than in No. 872, and the 
butterfly wings have their usual curve. We do not at this date know of 
any other examples than these two, though there are many spurious pieces. 

No. 875. A crane bracket table, a variant of the butterfly. One 
observes here the vertical frame. ‘The turnings are all the same size. 
The crane bracket is framed. We have seen one or two other examples 
like this table. They are all painted black, as is this one, which was found 
in Westboro, Massachusetts. 

It is from the author’s former collection and is owned by Mr. Harry 
Long. 

No. 876. A small butterfly table in curly maple. 

Owner: The estate of George F. Ives. 

The top is very narrow, being only 6 inches outside the frame, leaving 
no room for a drawer. The top is 234 by 33 inches. ‘The frame at the 
base is 14 inches wide at the ends, showing a rapid spread. 

We should call attention to the fact that in all the butterfly tables the 
wings are thin, varying from 4 inch to { inch. We have seen some 
restorations made with thicker boards for the wings. 

Nos. 877-878. A curling iron and love-lock iron. 

Owner: Mrs. De Witt Howe. 





894-897. CanpLE Sranps anv “ Hirep Man’s ” Bep. 18th Century. 





898-899. X Base CanpLE Sranps. 1690-1730. 


go 


900-906. 


Pine SETTLE, 


DousLe Tor Sranp. 





Carver Cuairs, Roastinc Jack, CanpiLe Box. 





908. Emproipery FRAME. 





gog—g10. Spoon Rack anv STANp. g11-913. Pipe Box, Sranp, ETC. 






fae . re 


Sinica aa TSS Ea. ica a aa i mc tk i 


gi4. Six Brancu CHANDELIER WITH Woop Hus. 18th CENTURY. 





915-916. Cross Bas— Stanps. 18th Century. 





917. CHANDELIER wiTH Giope CeNnTER. 18th Century. 


FURNITURE OF THE PILGRIM CENTURY 587 


No. 879. A very rare table of which we have seen only one other 
example. It is built in the trestle pattern, but has leaves, which are held 
in place by a double-ended tongue, swiveled at the center and holding up 
both leaves. The type is most interesting and important. 

Owner: Mrs. De Witt Howe. 

Nos. 880-883. The snowshoes on the left have leather leggings at- 
tached. We may presume that the owner devised this scheme because he 
could not remember, like some other boys of a subsequent generation, 
where he had left his belongings. The shovel is all quartered oak in one 
piece, and is very sturdy as we can testify, it having served in the case of 
a recent great storm. 

The churn was presented to the author by Mr. Stephen Alden of 
Brockton, and it came down in the Alden family. The barrel at the right 
is hollowed out of a single log, and has a bottom board nailed in. These 
barrels were sometimes of hornbeam. We suppose this one to be in maple. 

No. 884. An unusual drop leaf table in which all legs rake, and with 
a scrolled skirt on the side. The wood is maple. This table is difficult 
to classify, and we have therefore placed it in this position. It is some- 
what larger than a tavern table, and somewhat smaller than a dining table. 
The feet are missing. 

It was in the former collection of the author. 

Size: 44 by 52 inches, the long dimension in this case being with the 
grain, as the leaves are narrow. 

Nos. 885-886. Two stands of similar but not identical turning. 

They are the property of Mr. Edward C. Wheeler, Jr. 

That on the left has an oval top. The hight, as it stands, is 2.14 inches, 
but it, as well as its companion, has lost the feet. The top is 20 by 31 
inches. The table on the right one might say was a joint stool, so far as 
the size is concerned. It is 19 inches high and the legs slant or rake one 
way, as is usual in a joint stool. The rectangular top is 12 by 18 inches. 

No. 887 is a very rare little stand, the photograph of which was fur- 
nished the author by Mr. Henry V. Weil. A feature of special attraction, 
of course, is the turned cross stretchers combined with the raked legs. 

Nos. 888-889. Two little dark lanterns belonging to Mr. H. W. 
Erving. They are of much interest, though we suppose the date to be 
at least as late as the eighteenth century. 

Nos. 890-891. ‘Two candle stands with cast discs for bases, and with 
plain rods for standards. One of these has a bracket, for the lamp, in the 
toggle joint or folding pattern. The other stand is shaped to receive -a 
Betty lamp. The origin is Pennsylvania, and the date unknown. It is 
probably somewhat late, and may be the nineteenth century. 


CANDLE STANDS 


We HAVE previously, for convenience’s sake, in the arrangement of 
the volume, inserted a number of light stands or candle stands of wood or 
iron. We wish now to discuss separately a number of these pieces which 
of late have come to occupy no small share of the collector’s attention. 
They are found perhaps more often than otherwise with tripod bases. 
Sometimes, however, there is a heavy, clumsy block as a base, and some- 
times there are four legs. Again there is a turned disc for a base. The 
greater part of these stands which we shall now show are adjustable for 
hight. 

No. 892. This is one of two maple stands of this character found. 
The characteristics are a disc in the shape of a threaded washer on a wooden 
screw, to afford a small work table or a rest for implements. Above it is 
a cross member sustaining a candle at each end. The disc table has a 
slight raised edge like a tray. A peculiar feature of merit is the pair of 
wood screws below the candles. The object was to force the candle up 
as it burned. It is a touch giving completion to the piece and greatly 
enhancing its importance. The turning of the cross bar is very good. 
The hub, as we may call it, into which the post enters, has three wide 
straddling feet of simple turning. The main post finishes in a simple 
handle or finial. The candles are kept in place by tin candlesticks slit at 
the bottom so as to be attached to the crossbar. 

Origin: Concord, New Hampshire. The condition is perfect. The 
surface is in the original natural color of old maple, a very pale yellow. 

No. 893. A candle stand in the George F. Ives Collection. 

The collector is warned that among all the spurious pieces of furniture 
now found, probably there is no subject oftener counterfeited than the 
candle stand. The author saw no fewer than a dozen, all absolutely of 
recent manufacture, in one shop, at one time. They might easily deceive 
a novice. They have also been so well done as to deceive experienced 
collectors. It is a favorite method to take the legs of Pennsylvania spin- 
ning wheels and insert them in the re-turned posts of old beds. 

Nos. 894-897. A series of candle stands in the Nathan Hale mansion 
at Coventry, Connecticut. Mr. George Dudley Seymour is the owner. 
The stand on the left is a good example of its kind, being all turned. The 
diameter of the top is 164 inches, and the hight is 28 inches. 

588 






HEVN. & CPenveR eee 


sl ate Lb GERD ie ote 





oval Fe Sa iiss i aon * Cae 


gi8-g20. Tripop Screw Sranpbs. 18th CENTURY. 


IAP 
af ule 


921-929. CorrEE GRINDER, Lamps, Nursinc Borris, Etc. 18th CENTURY. 








930. Screw Sranp. 931-932. Sranp anv SNUFFERs. 





933. Pirercep Tin Lanrern. 934. Smoke Jack. 1760. 


PTE REET " 


BAECS LOE LE NOOR 





935-936. ‘I'ripop AND RatcHET Sranps. 18th CENTURY 





937. Harp Pine Trancurar Tasce. OFS.0 A ab 
38. RIANGULAR TABLE 


939- 


Tripop Screw STAND. 


941-945. 


940. 


Nocein, Lamps, Sconce, Etc. 





Pop Sranp. 








otal MW ree 


ee 








FURNITURE OF THE PILGRIM CENTURY 593 


The remote stand by the side of the bed has a cross base, arched, and 
supporting a maple shaft, mortised to receive a profiled cleat sustaining 
the round pine top. It is 16 inches in diameter and 27 inches high. To 
the right is a T base stand, so made that the part supporting the shaft is 
between the feet of the user who places his feet on the cross stretcher. 
The post is maple. The bed is of oak, an unusual material. 

The diameter at the top is 174+ inches and the hight is 25 inches. It 
is presumed that these stands are of the eighteenth century. 

No. 898. A stand from Henry V. Weil. It is made so that it is 
difficult to overturn. One notices the notches carved on three sides of 
the stubbed feet. The top is octagonal. 

No. 899. A stand with a massive post, chamfered, with stops. It 
will be noted that the ends of the cross members are notch carved. It is 
almost impossible to date these pieces, but they may be late seventeenth 
or early eighteenth century. 

Nos. 900-906. A room showing seventeenth and eighteenth century 
furniture. In the distance, against the plaster on the left, there is a tall 
‘ron candle stand. Over the fireplace hangs a bar on iron hooks. It 
was used to air ironed articles; sometimes a checkered apron, perhaps, was 
allowed to hang there as sort of momentous warning to the youngsters. 

On the right is a pine stool which is of a later period. Over the 
head of the grandfather, against the wall, there is a tin cylindrical candle 
box. The feet of the young lady are on a braided rug all made of corn 
husks, said to have been used in this form by the Indians. We doubt, 
however, whether the knowledge of braiding and rug making came to 
our ancestors from that source. No doubt some of their basket work was 
learned from the Indians. 

One sees in this picture the huge proportions of a summer beam, 
the great beam overhead at the left sustaining the floor timbers. The 
room is the kitchen of the Iron Works House, Saugus. 

No. 907. A very rare, possibly unique, candle stand belonging to 
Mrs. J. Insley Blair. The shaft or movable post at the center is guided 
by a crossbar with slots at the ends. When the shaft is elevated it can 
be fixed at any position by a small pin inserted in one of the holes at the 
elevation of the fixed mortised member near the top, through which the 
shaft runs. On the top of the shaft is a small square platform for the 
candle. The larger table top has a rim about it. 

No. 908. An embroidery frame. A very neatly shaped arched 
trestle foot supports it. The cross arms above are made as screws on 
which the large wooden nuts turn to make the work taut. A pair of end 
screws on the posts are also used to give the work the proper slant. 


594 FURNITURE OF THE PILGRIM CENTURY 


Owner: Mr. Edward C. Wheeler, Jr. 

The date may be the eighteenth century. 

No. 909. A square base stand in which the cross members are gently 
rounded to the floor. On the stand is set a very excellent spoon rack 
with simple carvings between the racks and a tree decoration above, at the 
top of all being a knob. These pieces probably originated among the 
Knickerbocker inhabitants of the banks of the Hudson, where several 
others have been found. 

Owner: Mr. B. A. Behrend. 

Nos. 911-913. A boldly-turned stand with turned tripod feet. On 
the stand is a pipe box with pierced heart ornaments, and a drawer for 
the tobacco. On the right, with an iron standard and a bowl below it, is 
an adjustable Betty lamp. They are owned by Mr. G. Winthrop Brown. 

No. 914. A chandelier of wood and strips of tin terminating with 
scalloped saucers of tin, in which the candle is placed. The style is excel- 
lent and such articles are rare. 

Owner: The estate of George F. Ives. 

Nos. 915-916. Two similar candle stands; that on the left, though 
more ornate, is perhaps not so good as that on the right, massiveness in 
these old stands being a point of merit. Both stands are shaped with 
raised bases terminating in bracket feet. The right hand stand has a 
chamfered shaft with stops. They belong to the eighteenth century. 

No. 917. A tin chandelier in the George F. Ives Collection. At the 
center of the tin hoop from which the arms extend is set a large globe, 
and the sustaining chains are sufficiently obvious. 

No. 918. A tripod candle stand, the hub of which is decorated with 
scratch carving. The table is set on a turned base and, while movable, 
is not adjustable for hight, as is the crossbar above it. 

Nos. 919-920. Candle stands, the lower one of which has a rim and 
the upper one of which is designed to be set on a table, being small and 
therefore very unusual. These three pieces belong to the George F. 
Ives Collection. 

Nos. 921-929. Household utensils of hardware belonging to Mr. 
Francis Mireau, Fountain Inn, Doylestown, Pennsylvania. The large piece 
above in the shape of a boat is sharply slanted toward the center, where 
the sides meet at an angle. The disc with handles was rolled back and 
forth and coffee was thus ground. The piece is cast. The heart-shaped 
flat iron speaks for itself, and so does the miniature fluid lamp. On the 
left below is a quaint padlock. The next on the right is a vessel of tin 
with a handle and a snout which served as a nipple for a nursing bottle. 
The tube extends to the bottom of the vessel, so that the infant could 





948-951. Four Canpie Sranps. 18th CENTURY. 





Pe a Ge 


952-955. CanpLe Sranps anp ScraPER Canpie. 18th Century. 





956-958. TresTLE Stanp aNp ApjusTABLE STAND. 





TureE LANTERNS. 18th CENTURY. 


i we 


Wi Bu 


ul 





963. Grass REFLECTOR LaNTERN. 


962. Larce Sup LanTern. 





964-970. Brp Room wirn Opp Cuest ano Earry Rocxine Cuair, ETC. 





971. Camp Meetinc Lamp. 972. Carvep Spoon Rack. 


FURNITURE OF THE PILGRIM CENTURY 599 


get the last drop. It is a most interesting little piece, but not half so 
much so as another which we have seen, with a nozzle going out from 
either side; and which was obviously intended to feed twins! 

The next articles are pretty well known, being probably the earliest 
forms of candle molds, before their time candles being dipped. On the 
right is an ink well. 

No. 930 is a quaint candle stand with crudely shaped feet, something 
in the form of a hoof. 

Nos. 931-932. This candle stand belongs to Mr. J. Stodgell Stokes. 
It is most quaint in the shaping of the feet, and their attachment to the 
hub. It is very unusual, in being provided with only one candle instead 
of one at either end of a crossbar as usual. There depends from the end 
of the knob on the candle holder a pair of wrought iron snuffers. 

No. 933. A large lantern now named for Paul Revere who, we 
doubt not, would have repudiated it. Such lanterns were used in the 
nineteenth century and perhaps in the eighteenth. 

No. 934. A smoke jack which the author took out of the kitchen 
chimney in the Wentworth Gardner house in Portsmouth, repaired, photo- 
graphed, and returned to its place. It fitted into the flue of the chim- 
ney so that the draft revolved the mechanism with its worm gear. The 
shaft protruded through the face of the chimney, and to the end of it 
was attached the small chain belt that turned the jack. A most interesting 
and fascinating contrivance, and extremely rare, if not unique, in this 
country. 

No. 935. A simple candle stand with legs almost like sticks. 

No. 936. A ratchet stand with four stick legs. The piece is odd in 
that the whole mechanism to which the pawl is attached rises and falls 
with the crossbar. 

Owner: The George F. Ives Collection. 

The date of these pieces may be the eighteenth century. 

No. 937. A three-cornered table of yellow pine. It is very heavy, 
exceeding the weight of most oak pieces. It was purchased in New York, 
but is probably derived from a point somewhat farther southwest. 

No. 938. A three-cornered rake legged table belonging to Mr. Fred- 
erick K. Gaston of New York. It is a most interesting piece. It follows 
the lines of the earliest Windsor turnings, so much so that one of its 
legs might be compared, except for length, with a Pennsylvania blunt 
arrow turned chair leg. One notices that the round stretchers are placed 
at different elevations in order not to weaken the wood. The posts at 
the top are run into a block on which the beveled circular table is fixed. 

Size: Diameter of the top, 144 inches. Total hight, 224 inches. 


600 FURNITURE OF THE PILGRIM CENTURY 


No. 939. A stand in which the hub and the miniature table seem to 
be turned but are really worked out on a bench. The legs and the post, 
otherwise called the shaft, are turned. The crossbar is decorated by 
gouge turnings. ‘The piece is attractive, partly owing to the size of the 
table, which is only 6} inches in diameter. 

The hight is 314 inches. 

No. 940. A ratchet candle stand with pods or sockets of wood into 
which the candle was dropped. A small block within this socket is moved 
up and down by a little metal clip extending through a slot in the side, 
and thus enabling one to regulate the hight of the candle. The base is 
formed of a slab through which the posts are mortised. It is the quaintest 
of all stands so far known to the author. 

Nos. 941-945. A series of articles in the George F. Ives Collection. 
The second is a magnifying lamp. The sconce with three candlesticks is 
very good. Next we have a swivel, otherwise called a ship lamp, which 
can be carried or hung on the wall; and last is a tinder box. 

No. 946. An excellently done stand with an especially good base, not 
so much for its artistic properties as for its sense of stability and quaint- 
ness. The heavily turned post is good. 

No. 947. This is the best stand we have seen, in design. The piece 
is walnut. The shaft, which is fluted, is set on at a diagonal. The feet 
are well molded. The base was arched at one time more markedly than 
now, before perhaps an inch of wear occurred. The left hand piece is 
264 inches high and 12 inches in diameter. The right hand piece is 254 
inches high and 12 inches in diameter. 

They date from the earlier part of the eighteenth century. 

Nos. 948-951. Four stands of various outlines. That on the left 
resembles one we have shown in having a T head, on one member of 
which, the chamfered post, stands. They are from the collection of Mr. 
B. A. Behrend, and are of various dates, probably all of the eighteenth 
century. 

No. 952. A candle stand with an arched cross base and an adjustable 
crossbar. 

Owner: Mr. Hollis French. 

No. 953. An adjustable stand of odd construction. The lower part 
of the base is hollow, and the smaller post rises and falls within the base. 

Owner: Mr. B. A. Behrend. 

No. 954. A candle stand with a stick leg base, and a candle-stick 
which is hooked upon a bar. The bars afford a range of elevation. 

Owner: Mr. B. A. Behrend. 

The three last described are of the eighteenth century. 


RO 


2 ee 


AWARE TAMA, Rem wah eee ee 
WA Oa, WER WER WE Wn tae ee 


a . 
= 





Woot-Spinninc WHEEL. 17th anp 18th CenTURIEs. 




















ti 


It? 


‘ 
| 





\ 





























Frax WHEEL. 18th Century. 


oO 
a | 
wi 


974. Hutcu Taste. 








i “= 


976-979. Yarn ReeEts. 18th Century. 





Copt fo 
VV Nutting 





980-983. Great Room or Ipswich Hisroricat Sociery, YARN REEL, ETC. 





xi. 


984. Raxep, ScroLteD Taste. 1690-1710. 


A A NR IRI dN aM 


ay, 





17th anp 18th CrenrurieEs. 


Loom. 


\ Rac Ruc 


985. 








18th CEenTurRY. 


Mortar anp Toppy Stic 


Sy 


Buri Bow. 


986-989. 


FURNITURE OF THE PILGRIM CENTURY 605 


Nos. 956—-95'7. A small trestle stand similar to two others which 
we have shown. It isa rare piece. The lantern is of a late type. 

Owner: Mr. B. A. Behrend. 

Date: 1660-1690. 

No. 958. A rarely odd candle stand the feet of which are merely 
stubs inserted in bored holes. The shaft is adjustable for hight, by a 
screw in the base. The photograph is furnished by Mr. Henry V. Weil, 
who owned the piece. 

Date: 1700-1750. 

Nos. 959-961. In these lanterns we have various types of the eight- 
eenth or early nineteenth century. One or two of them are rarely good. 

Nos. 962-963. Two heavy and quaint lanterns which perhaps do 
not require description. 

Nos. 964-970. A late seventeenth century room arranged as a bed- 
room. ‘The bed is of oak and the chest on the left is one which we have 
not illustrated although we have shown one similar to it. The portrait 
belongs to the early nineteenth century. The walls are properly done 
for the simple period of the eighteenth or the finer period of the seven- 
teenth century. The rocking chair on the right is one of several discovered 
within a few years, having an enlarged post at the bottom bifurcated for 
rockers. We think that the bed has been cut down from a high-poster. 
It must have been a wonderful specimen in its day. 

The chair against the wall in the background over the table has a slat 
back and square posts. We do not otherwise feature it, as its American 
origin is questioned. 

No. 971. A camp-meeting lamp throwing light to every quarter, and 
not two-faced, but four. It is of tin. 

No. 972. A spoon rack and knife box. It is carved in the Friesian 
design on the front and ends of the box, and with checker work in the 
back, and above with a pine tree. Its condition is wholly original. 

No. 973. A spinning wheel for wool shown in operation. Such 
wheels are not rare and occupy a good deal of room. The garret is the 
place for them. Those who spun for hours used a spoke stick or wheel 
stick to whirl the wheel and avoid blistering the fingers. A good spinner 
would do perhaps six hundred yards of linen in a day, but we are not 
aware how much the wool wheel, deftly handled, would produce. 

No. 974. An amusing little hutch table which is sketched here rather 
than photographed. The top swings so that the piece could be put against 
the wall. The cubby under the top was thus open. 

No. 975. The usual type of the spinning jenny on which linen 


606 FURNITURE OF THE PILGRIM CENTURY 


thread was made, the distaff being of especially good construction with 
turned ends connected by bowed ribs. 

Nos. 976-979. Four forms of reels, all of them having some method 
to warn the user by a click when a skein had been wound, so that count 
might be kept, or the skein cut off at that point. 

No. 977. This is adjustable on its shaft for winding hanks of the 
different lengths, for what purpose we do not know. 

Nos. 980-983. The great room of the Saltonstall House, used by 
the Historical Society of Ipswich, Massachusetts. It has been called, by 
those competent to judge, the best seventeenth century room in America. 
It has the crossed summer beam which has sprung from the great weight 
attached so as, in the center, to hit the head of a man of average hight. 
Those who study such matters tell us that the stature of man has increased 
since the seventeenth century. The cross summer beam was a poor 
method of construction, as the mortise on the huge cross timber weakened 
the main beam. The beautiful quarter round chamfer of the main beam, 
with its good chamfer stop, here appears quite plainly. 

On the right, attached to a table edge, is a collapsible reel such as was 
used in the nineteenth century. It was very convenient. We do not 
elsewhere show a tin oven or jack. They did not come in until the 
quainter, heavier early type, resting on the andirons, went out. Neither 
do we at all like them, as when they are used, they cumber a room and 
prevent a view of the fire. They are removed after use. They belong to 
the last part of the eighteenth century. 

No. 984. A stand with odd turnings. It is meritorious from the 
shaped bracket, which is, of course, cut on the skirt of the frame. It rakes 
on every side. 

Owner: The George F. Ives Collection. 

Size: Top, 24 by 31 inches. It is 27 inches high. It probably belongs 
late in the eighteenth century. 

No. 985. To carry through illustrations of most of the occupations of 
the early days, we illustrate a rag carpet loom in operation. The lady 
wears one of the quilted petticoats, which she is ambitious to have us know 
she possesses. She is weaving the sort of carpet on which she stands. 
The house is that formerly owned by “ Ole Bill Spear ” in North Pem- 
broke. 

Nos. 986-989. Bowls of burl and a mortar of the same. To col- 
lectors who are just beginning, a mortar has some fascination, but unless 
it has some special features, as in this case, it is of little value. The stick 
lying on the table, and with a bulbous end, is to crush sugar and, undoubt- 
edly, was sometimes used for making toddy. 





990-992. Turee Fine Types or Pipe Tonos. 18th Century. 





993-994- Fine Pipe Toncs AND ORNAMENTAL Serwe 18th CENTURY. 





17th Century. 


Stump Frame Looxinc Gtass. 


995- 











f 
' 
| 





eae Os oe 


REN RATS 


OB inuianctie. 














Soa meee eens 


ELLIOT TLE 





vincent cechtamoen asain et ieapeasn ate 


1 oeenenaeeen 


mes 


SEE ne Belk 


ee te pt Na TRY Ey, 


Di 
leas 














1710-20. 


Looxinc Guass wiTH INLAY. 


996. 


At Bana AEH YO pe me ar 





997. Looxinc Guass, Frame witH Motpep Lininc. 1690-1700. 





4 


998-1002. Horn LanTERN, SPARKERS, ETC. 18th CENTURY. 








Sia: 


1720 


Quitt Worx Sconces. 


1004 


1003—- 


OE say ee 


SS Ae es 


i POT ey 


Pa ht nth, AL Any octet, AR He as n, 2 


sneer Caterer eA terme coscemoarntsnss 





17th CENTURY. 


NEEDLEWORK PICTURE. 


Petit Point 


1005. 





A Parr oF Tin CHANDELIERS. 18th CENTURY. 


1006-1007. 





1710-20. 


A Quitt Worx Dovus.e Sconce. 





1700-20. 


Looxinc Guass FraME. 


1009. 











1700-10. 


KING Gtass. 


Loo 


IOI!I. 


KING Guass AND FRAME. 


Loo 


IOIO. 


FURNITURE OF THE PILGRIM CENTURY 615 


Nos. 990—992. Three remarkably good pipe tongs belonging to Mr. 
Henry Ford. The pair at the top is quite like one in the author’s col- 
lection, and in that of Mr. Erving. The piece at the bottom was slightly 
repaired in its thumb-piece. It is otherwise original, and of very delicate 
contour. The central piece is most quaint. We have never seen any- 
thing else like it. 

Nos. 993-994. No. 993 is so nearly like the one illustrated above 
that only by taking the articles in one’s hand can the slight differences be 
seen. It is at the Wayside Inn, South Sudbury, and belongs to Mr. 
Henry Ford. 

No. 994 is a decorated ceremonial skewer with reversed spiral. It 
was intended, no doubt, to withdraw the ordinary skewer on the top of the 
roast in the kitchen, and to insert this skewer when the meat went onto the 
table. It thus served not only to hold the roast together, but could be used 
to steady it in carving. It was presented to the author by Mr. Chetwood 
Smith, and was found in the attic of the General Eliot house in Sutton. 
General Eliot was a Revolutionary officer, and no doubt used this skewer. 


LOOKING-GLASSES 


Ir HAS not yet been possible to ascertain definitely the origin of the 
finer looking-glass frames found in America before 1720. This remark 
applies particularly to the veneered walnut frames which were used during 
that period. We have every reason to suppose, however, that many of 
the frames were imported. At the same time, we believe it probable 
that some of them were made in this country. 

Regarding the glass, which was as a rule, and perhaps always, plate, 
with a very soft bevel, scarcely observable in some lights, we know that 
that was invariably made abroad in our period. 

In showing a few looking-glasses, therefore, it should be carefully 
understood that the only claim made for them is that they have been in 
America a great while. This remark would not apply to the obviously 
American simple small pine frame made in imitation of the finer walnut 
frames. 

No. 995. A bead work frame in yellows, tans, greens and blues. 
The initials M. B. and the date 1660 are wrought in among the beads. 
The flower forms seem not to be emblematic, though the conventionalized 
rose may be so regarded. The flower in the lower right hand corner is 
unmistakably an iris. 

This frame has its original beveled plate glass. In order to exclude 
objectionable reflections, it is covered in this picture. 

Owner: Mr. L. G. Myers. 

The so-called stump frame is the earliest of which we have any 
examples in America. They are very rare indeed. 

No. 996. A looking-glass of satinwood with a walnut outside edge. 
The top has three inset panels of corresponding design. Originally the 
inlay covered the entire top. The veneer between the panels is now 
missing. 

Size: The frame measures 3 inches across the molding. It is inlaid 
with Thuya and tulip wood. Size of glass, 134 by 163 inches. 

Owner: Mr. Francis Hill Bigelow. 

No. 997. A heavy looking-glass with its original glass, from which, 
however, the silvering has been cleaned off. The glass is now used to 
cover a coat-of-arms. The frame is beautifully decorated with mar- 
quetry of the period of 1700. ‘This glass was sold from the Wayside 

616 








lia LN ecco a 





Looxtnc Gass. 


1013. 


Looxinc Giass. 1710-20. 


1012. 





1710-20. 


Looxinc GLassEs. 


1014-1015. 











satin 





1710. 


Looxinc Guasses, Cut Grass anp Painrep Tops. 


1016-1017 








1019. Sconce Grass. 1700-30. 1020. Looxinc Guass. 1700-10. 





1021. Warminc Pan with Decoratep Brass Lin, Iron Hanne. 18th CEnrury. 





1022. Looxinc Grass, 1700-20. 1023. Grass, Cur Tor. 1710-20. 





1024. DousLE Goosr Yoke. 





1027. Spminninc JENNY. 









































1025-1026. 17th Cenrury Bep Posts, 1028. Cupsoarpo Latcu. 


FURNITURE OF THE PILGRIM CENTURY 623 


Inn, Sudbury, at the auction of its contents some fifty years ago. It had 
been painted so that when it was sold, its character as a walnut and inlaid 
frame was not suspected. The cresting is missing, but the condition of 
the frame is otherwise quite perfect. 

Owner: Mr. George W. Hunt of South Sudbury, who inherited the 
glass from his father, who in turn purchased it at the auction. The arms 
are those of the family who for many generations conducted the Inn, 
but are a copy. 

Nos. 998-1002. ‘The first object is a horn lantern. The author has 
one quite like it. The name lantern, formerly lanthorn, has no reference 
to the horn of which its transparent substance was composed. The word 
is not of English derivation. The object, of course, in using the horn 
was to secure a material at once transparent and unbreakable. We do 
not know when glass was first used in lanterns, but we should probably 
not date an example like this earlier than the beginning of the eighteenth 
century. 

The next three objects may or may not be American, but the pre- 
sumption is strong against the scrolled candle stick, which has to us an 
Irish suggestion. The fire-makers or sparkers were no doubt made in 
the simple forms here. The more elaborate forms are usually foreign. 
The fat lamp is discussed elsewhere. The lantern at the right is an 
interesting, but not an early, type. 

Owner: The George F. Ives Collection. 

Nos. 1003-1004. A remarkable pair of quill work sconces. The 
frames are in all respects similar in styles and material to looking- 
glass frames of the period. The obvious reason is that the looking-glasses 
themselves were often used as sconces. The designer of these sconces fitted 
his frames with decorative materials designed to catch the light in front. 
The frames are of walnut. The vase design, with rosettes and border, is 
of paper gilded on the edge. The flowers, principally carnations and 
tulips, are made of wax which is perhaps mixed with mica. Each petal 
is edged with silver wire. The colors are red, blue, purple and white, 
of varying shades. The whole sparkles from the light of the candle 
below. 

They were made by Ruth Read, daughter of the Hon. John Read, a 
lawyer of distinction in Boston between 1722 and 1749. 

In “Gold and Silver of Windsor Castle,” 1911 (p. XXXI), Mr. E. 
Alfred Jones refers to this pair of simple scrolled candle brackets as 
being typical of such in use in England during the reign of Queen Anne. 
None of the English specimens seem to have survived the melting-pot. 
Similar brackets may be observed in Hogarth’s engravings, “The Laugh- 


624 FURNITURE OF THE PILGRIM CENTURY 


ing Audience” and “ The Analysis of Beauty.” This pair of brackets 
was made by Knight Leverett of Boston (1703-53), and is engraved 
RR 1720. 

We distinguish here between the sconce brackets which hold the 
candles, and the sconce, which is the portion against the wall — the framed 
section. 

The pieces are supposedly unique. Their effect is excellent. 

In not a few instances glasses probably had sconce brackets which have 
been lost, the sockets even being removed, so that there is scarcely a 
trace of their former location. The effect of looking-glasses with candles 
was not overlooked by the designers of the period. The fashion of 
using such candles was continued into Chippendale’s time and even later, 
only in the later time the candles were placed at one side rather than 
below the glass. We may suppose that the fashion of cutting the surface 
of the glass in ornamental forms was a persistence of the decorative idea 
such as appears in the pair of sconces before us. 

Owner: Mr. Francis Hill Bigelow. 

Size of each: 9 by 21 inches. 

The frames are veneered, apparently in walnut, 3 inch wide, and are 
now painted black. 

No. 1005. A framed petit point needle work picture of the seven- 
teenth century. With its rich coloring, quaint drawing and perspective, 
it is characteristic of the period, and is of particular interest owing to the 
fidelity of the costumes displayed. It is introduced here, however, on 
account of the frame, which is of pine, well molded and with a wide gold 
line. In order to show the cloud effect, the top is made with a double 
arch, and should be compared with sconce No. 1008. 

Owner: Mr. H. W. Erving. 

Origin: Probably American. 

Nos. 1006-1007. A pair of tin chandeliers. They were bought in 
New Haven. They were the first instance we have come upon of a 
pair. One notices that the word chandelier is derived from the old spell- 
ing for candle. Compare chandler, a dealer in candles. These pieces 
are in their original condition. ‘The measurement across the arms is 21 
inches. The middle disc is 84 inches in diameter, and the saucer bases of 
the individual candles are 4 inches in diameter. All edges are crimped. 
They are suspended by a wire. 

No. 1008. A sconce in quill work. One sees at the bottom the 
bases upon which the arms of the candles are attached. This piece, to- 
gether with No. 1003, is the only one of the sort known. They were of 
much importance and involved a vast degree of labor. One sees in this 













































































1029-1033. Courr Cuppoarp Posts. 1640-1700. 


example an arrangement of flower and leaf design with birds in the 
foliage. 

Owner: Mr. Francis Hill Bigelow. 

No. 1009. A decorated looking-glass. The frame is small and is 
painted in scrolls, which do not show at all clearly. The frame is said 
to have belonged to Peregrine White, though we do not know what the 
evidence is. It will be remembered that he was born on the Mayflower . 
in Provincetown Harbor, and that we are supposed to have his cradle at 
Pilgrim Hall, Plymouth. He lived to a great age. Many articles have 
come down to us from him. He was the only original member of the- 
Pilgrim band who lived into the eighteenth century. We believe this 
looking-glass to be American. 

[Continued on page 635.] 





















































17th Century TaBLe Lecs. 


1034-1037. 








17th Century TaBieE LeEcs. 


1038-1042. 





17th Century TaBxe Lecs. 


1043-1048. 








1049-1053. HicHBoy anp Lownoy Lees, 1690-1720. 











Rops. 17th Century. 













































































17th Century Taste anp Coucu Lecs. 


"8. 


ef 


1072-10 




















1107-1111. 17th Century TABLE AND Cuarr Lecs. 





ea hoa ae 
TT OL ae 


1112-1116. Tasie anp Cuarr StReTCHERs. 17th anp Earty 18th CenruriEs. 








Il17-1119. 17th Cenrury Court Cupsoarp Piuxars, 


meen | LoD 
St) Sa te 1) tsa tee be 





1120-1129. Cuair STRETCHERS. 17th anp Earzy 18th CENTURIES. 


Owner: Mr. Mark M. Henderson of Norwalk, Connecticut. 

No. 1010. A looking-glass dating from about 1700. It is all 
original, but there was a decorative crest, which has been lost. We pre- 
sume all the fine looking-glasses of the period to have had crests. Most 
of these, however, are now missing. The reason for this is that the 
crest was separately made and attached by dovetailed cleats on the back. 
It is not until we have the crest made as a unit with the glass that we 
begin to find such crests still attached quite generally. The glass in this 
frame is original. We do not know why this method of grinding ever 
went out. We understand there is some practical difficulty in grinding 











1130-1140. Cuarr SpinpLEs. 17th CENTURY. 


modern glasses in the same faces. The effort now is seemingly, by a 
sharp bevel, to emphasize the grinding. This is partly owing to the 
greater thickness of modern plate. In the old days, however, there was 
an effort made to hide the junction of the bevel with the main face of 
the glass. 

It will be seen, as we proceed, that the earliest looking-glasses were 
nearly square. In this form the glass was less expensive. Later, for the 
same reason, we often have looking-glasses in two parts, with one glass 
under the other, a scheme devised for the same reason of economy. 

We do not know how the ground bevel originated, nor why it was 
used. In this connection we should notice the shape of the earliest frames. 
They were very wide, like raised panels, and the molding retreats in a 
soft ovolo to the outside. This is directly opposite from the type of 
frame used about 1850. 

Size: 274 by 314 inches outside. The glass is 184 by 22 inches. The 
wood is walnut veneer on pine, as usual. : 





: 
‘ 


1141-1149. Frntars, Drops, anp STAIR BanisTERs. 17th CENTURY. 





638 FURNITURE OF THE PILGRIM CENTURY 


No. ro1r. This glass, also, evidently had a top which has been lost. 
The inlay here is very like that on No. 1009, only here it is visible. The 
inlay is in satin and tulip woods. 

Size: The glass is 16 by 193 inches. The frame is 4 inches wide in 
addition. The width of this frame is important, as it indicates great age 
in this style of molding. 

Owner: Mr. Francis Hill Bigelow. 

No. 1012. This is the first instance of a looking-glass in which the 
cresting is an integral part of the frame. The decoration at the top, 
which shows indistinctly, is a very good inlaid design in tulip wood. The 
glass is not original. There were two glasses. The frame is walnut. 

Date: 1710-1720. 

Size: The width of the frame is here reduced from the other examples 
we have seen, indicating a later date and an increase in delicacy of treat- 
ment. It is 1} inches in width. The outside measurement of the frame is 
185 by 484 inches. The adaptability of walnut for furniture making was 
recognized in the south of Europe at a period somewhat remote. All 
record of the matter is lost. In the early veneers it was sometimes too 
thick. It was laid on in cross sections, as in this frame, and the joints 
sometimes open. The modern method of the use of very thin veneer 
is designed partly for economy and partly from the supposition that the 
veneer will stand better. The tendency to curl is noticeable in most heavy 
veneers. The use of pine as a basis of veneers is proof positive that pine 
was commonly used, in English furniture at least, in this connection. 

No. 1013. A walnut frame with convex molding. The style of the 
top is frequently seen in English looking-glasses. The pierced work 
sometimes outlines a design of heraldry. During the reign of William 
and Mary, when these glasses were made, the loyalty of the colonists was 
such that royal emblems might easily have been cut here. We remem- 
ber such a loyal emblem in pine as the keystone of the finish of a window 
in a dwelling house in Portsmouth, New Hampshire, as late as 1760. 
But the builder was a Tory! . 

One should carefully distinguish between these fretted or pierced 
frames in walnut, of the period we are now treating, and the later scrolled 
and fretted frames of the Chippendale period, when the work was done 
on mahogany, and extended all about the looking-glass. In our period, 
the decoration is, for the most part, at the top. If this rule is trans- 
gressed, we find it at the top and bottom only, but never at the sides. 

Size: Of glass, 11% by 17% inches. 

Date: 1710-1730, 

Owner: Mr. Francis Hill Bigelow. 


oe 











1150-1153. 


18th anp 17th Cenrury Cuair Finiats. 





1154-1156. 17th Cenrury Cuair Finiats, 


Bien. | 





1157-1163. HousrEHotp UTensits anp Fror. 18th CrenTurRy. 
/ 





1164-1166. 17th Century Cuair Finiats. 





1167-1175. Various lron UTENsILs. 17th anv 18th CENTURIES. 





1176-1186. Iron UTENSILS. 18th CENTURY. 


1187-1193. Grass AND PEwrer Sconce REFLECTORS. 








18th Century. 


1194-1195. A Lamp anv a CanpLE CHANDELIER. 





1196-1198. Froor Sranp anv CanDLeE STICKs. 1199. Two Tier CHANDELIER. 





1200-1205. Rusu Licuts ano Lamps, 17th, 18th anp 1gth CENTURIES. 





1206-1212. TuLip Biossom, Turip Bup, Scrottep Cuest anp Buck Horn HInces. 





1213-1216. An Attic oF 1752 witH Various FurnisHINGs. 


FURNITURE OF THE PILGRIM CENTURY 645 


No. 1014. A flat walnut frame. The glass is beautifully engraved, 
in the upper section, in a floral design, with birds and conventional scrolls. 
At this date the cutting of the upper glass in imitation of flowers and birds 
became popular. It would have seemed better to have left the glass free 
for the use originally intended in a looking-glass. We see, however, that 
the use of a looking-glass itself is in the direction of luxury, and invariably 
must accompany the development of taste and the ramifications of style. 

A glass as large as this forms an important part of household decora- 
tion. The use of looking-glasses for this purpose from this point on 1s 
important. They not only served their original purpose, but added light 
and brilliance to the rooms in which they were placed. 

Size: Of glass, 13% by 33g inches. 

Date: About 1710. 

Owner: Mr. Francis Hill Bigelow. 

No. 1015. This frame is in a convex molding in burl walnut. One 
begins to see here the scrolled lines at the top, as we reach the Queen Anne 
period. 

Size: 153 by 434 inches. The frame is 2g inches wide. 

Date: About 1710. 

Owner: Mr. Francis Hill Bigelow. 

No. ror6. A walnut looking-glass in two parts. The bird cut in 
the upper glass is sometimes called a phoenix and sometimes a pheasant, 
but is not always recognizable by any of Audubon’s illustrations. It is 
at least a bird, and a touch of mystery is rather an advantage. In this 
instance one sees clearly the method of the time, in lapping the upper glass 
over the lower. The object, of course, is to blend the two glasses as much 
as possible. It was at a later date that the division was frankly made by 
a section of the molding. In that case, the upper glass was often used 
to frame a design. Here the original idea still prevailed, of continuing 
the reflecting surfaces as a unit. The rabbet in the frame, into which the 
upper glass fitted, was made deeper; the rabbet in the lower section being 
more shallow, the glasses came together nicely. Old glasses, becoming 
a little shaky, are very likely to give trouble at this point, and permit the 
upper glass to slip down. Hence many were broken. The wood of this 
frame is somewhat bleached, showing how light walnut may gain a quite 
charming but very different color from that intended by the maker. 

Size: The full hight is 37 inches. 

Date: About 1710. 

No. 1017. An interesting looking-glass, with painted section. 

The upper section is a panel of wood on which is represented a ship in 
full sail’ The colors are now very quiet, but entirely distinct. All parts 


646 FURNITURE OF THE PILGRIM CENTURY 


are original. We see here a tendency toward the abandonment of the use 
of the upper section as a looking-glass, giving it over to decoration entirely. 

The use of wood as a ground for pictures is extremely early, some of 
the great paintings of the ages being done on wood. At first thought it 
seems not to be a suitable substance, yet the work done on it has often 
proved more permanent than that on canvas. 

Date: About 1710. 

Owner: Mr. Chauncey C. Nash. 

No. 1019. A looking-glass which was, of course, designed to carry 
a sconce on the central projection at the bottom of the frame, which is 
very closely similar to the projections on the frame of No. 1008. The 
plain semi-circular top is unusual. Very narrow glasses of this character 
were often in pairs, and it is probable that this specimen once had a mate. 
One should compare the molded frame of this glass with a similar mold- 
ing which runs around the backs of walnut chairs of the same period. 
The design was a favorite one of the cabinet makers of that day, who 
were also capable of getting into ruts, like those of the present time. 
“We refer,” as the Rev. Dr. Hawes of Hartford used to say, “to those 
to whom we allude.” 

Size: 74 by 204 inches. 

Date: 1700-1730. 

Owner: Mr. Francis Hill Bigelow. 

No. 1020. A looking-glass with a stained maple frame. Maple, as 
of less value than walnut, is more likely to indicate American origin when 
found in a looking glass. Nevertheless, we should be very careful of 
this conclusion. There is much maple in England and it was used more 
or less in furniture. 

This glass, though rather simple, is of very pleasing design. The 
odd button ornament, or boss, and the somewhat wandering, uncertain 
lines of the scroll are interesting gropings after beauty. 

Size: The narrow part of the frame is 14 inches, and is convex, as 
quite generally in this period. The glass is 114 by 17 inches. 

Owner: Mr. Francis Hill Bigelow. 

No. 1021. A warming-pan with an iron handle and a curved portion 
of the top to form a hook. These hooks were more often turned side- 
wise, and in the form of a shepherd’s crook. The warming-pan with the 
iron handle is earlier than that with the wooden handle. One sees here 
the brass cover pierced in a decorative design. 

No. 1022. A looking-glass with a handsomely scrolled crest. We 
like this type of scroll better than the usual pierced scrolls in the English 
looking-glass. Further, we are more inclined to believe in the American 


FURNITURE OF THE PILGRIM CENTURY 647 


origin of looking-glasses with simple scrolls. The frame has the extra- 
ordinary width of 44 inches. The veneer is in apple wood, showing the 
end grain. In this case the glass is covered to avoid confusing reflections. 
Of course the glass is beveled. 

It is the spirit of the true collector to value the glass as much as, or 
more than, the frame. He resists even the re-silvering of an old glass, 
yet many old glasses are re-silvered, but the result is not entirely satis- 
factory. It seems impossible to secure a perfect amalgam. Formerly, 
mercury was used in an alloy with tin. Pure silver is sometimes used. 
The direct rays of the sun would soon ruin the silvering on a glass. It 
is for this reason that old glasses passing through so many experiences 
are usually in so bad a condition. The suspicion arises that new plate is 
sometimes submitted to direct sunlight to secure the old effect. It is 
easy, however, by noticing the softness of the bevel on the old glasses, to 
distinguish them from the new. 

Size: The glass is 154 by 184 inches. 

Owner: Mr. Francis Hill Bigelow. 

No. 1023. A looking-glass of Japanese design. The scroll is very 
tasteful. The glass is cut above in a foliage pattern. 

Owner: Mr. L. G. Myers. 

No. 1024. This so-called goose-yoke which is 9 inches long and has 
a large ring, is connected with the following tale, upon which the reader 
may pass his own judgment. It is said that a tame goose was yoked here 
with a wild goose which had been winged and caught for this purpose. 
The ring was then used to attach a cord, fastened to a stone thrown to 
the bottom of the goose pond, as a tether. The pair of geese could then 
sail about within a certain radius and served as a decoy for bringing down 
wild geese. The yoke is precisely like a reduced ox yoke. We have the 
single goose yoke, which is very commonly found. It is a triangular 
section. 

Owner: Mr. Chetwood Smith. 

Nos. 1025, 1026. These bedposts are believed to be of Spanish 
origin. We show them here because of the remarkable beauty of the 
turnings, which are found in almost identical form on some American 
chair finials. The wood of these posts is extremely gnarled, and difficult 
to work, so that below the frame it is left entirely rough, the thought 
being that as it was to be covered by a valance, it was not worth while to 
smooth. We show these turnings here as an interesting example of the 
universality of motives, at least in western Europe. These turnings may 
be suggested as indicating how, from the Spanish Netherlands, the turn- 
ings of the Brewster and Carver chairs may have come to America. 


648 FURNITURE OF THE PILGRIM CENTURY 


The large diameter of the turning is about 3 inches. The small 
diameter is about 4% inches, and the greatest length of a finial is about 
IO inches. 

No. 1027. A spinning jenny with the frame somewhat resembling 
that of a chair. This type is often found in Connecticut. There are, as 
one observes, two treadles which are intended to make the operation of 
the wheel simpler and steadier. Another feature of interest is that the 
spinning head, which hangs over the side of the frame, can be swung up 
out of the way by loosening the hand screw on the front of the frame; 
also, whenever it is set for spinning, it can be given just the proper tension 
by the set of the screw. 

No. 1028. A wrought maple leaf latch. This remarkable and hand- 
some example, no fellow of which we have so far seen, was probably 
intended for use on a cupboard door, as it is molded on the edge, appar- 
ently to match the mold on such a door. It is supposed to have caught by 
a snap, and to have been reversed from the usual latch position on this 
account. Size: 54 by 9 inches. 


TURNINGS 


CarEFULLy outlined drawings which were done on a full size scale, 
and reduced, are here exhibited. They will give an accurate idea of most 
of the forms in which the furniture of our period was turned. All but one 
of these drawings were done from the furniture. That one was done 
from a photograph on which we had the dimensions. 

Nos. 1029-1033. The posts on court cupboards. No. 1029 is the 
upper post in the Parmenter cupboard. 

Size: 20% by 4 inches, the latter dimension being the square of the 
top. The large part of the turning is only ;4 inch short of this dimension; 
the smallest is 13 inches. 

Nos. 1030 and 1032 are the humbler turnings of pine court cupboards. 
No. 1031 is the reversible turning of the Prince-Howes cupboard. The 
turnings on the other cupboards of this style all vary somewhat from this 
one, but they are all about the same size. The size of this turning is 173 
by 4,7,inches. The smallest diameter is 13 inches. 

No. 1033 is the post of the Connecticut sunflower and tulip cupboard. 
These posts are practically the same on all the cupboards, with one excep- 
tion. In fact, their similarity is so great that they are more like modern 
products in the sense of being almost interchangeable. 

Nos. 1034-1037 are the heavy legs of the earliest tables. No. 1034 
is the bulbous leg of the great Andover square table. 


FURNITURE OF THE PILGRIM CENTURY 649 


Size: 313 by 44 inches. The smallest diameter is 13 inches. The 
square of the leg is only 2# inches. At the top one sees the extension, 
which is a tenon entering into the mortise in the table top, which is, how- 
ever, left unpinned so as to permit of lifting off the top. 

Nos. 1036-1037 are respectively the legs of the Sudbury and the 
Salisbury communion tables. Each has a diameter of 34 inches. 

Nos. 1038-1042 are table legs which come more in the range of 
common experience. No. 1038 is the leg of a trestle-board gate-table. 

Size: 26 by 23 inches. 

The other turnings on this plate are all gate-leg table legs. 

Nos. 1043-1048 are legs of various pieces. No. 1043 is the oak 
post of a chest-on-frame. No. 1044 is the oak leg of an early tavern 
table. No. 1045 is from a gate-leg table. No. 1046 is the post of an 
American turned settee. No. 1047 is the raked oak leg of a tavern table, 
and No. 1048 is the raked oak leg of a stool table. 

Nos. 1049-1053 are the legs of the William and Mary and Queen 
Anne period, of the highboy and lowboy type, except that No. 1053 is the 
leg of a stool having a cross stretcher. 

Nos. 1054-1071 are cupboard and chest half spindle turnings, drops, 
and bosses. 

Nos. 1072-1078 are table, desk, or couch legs. No. 1076 is a very 
fine representation of the best type of the Pennsylvania turning, show- 
ing the ball of the foot larger than the rest of the turning, and the so- 
called blunt arrow with which the leg terminates at the floor. The chaise 
longue from which it is taken is in the author’s collection. Heavy turn- 
ings like these are called fat. The ball of the foot is 37% inches in 
diameter. 

Nos. 1079-1085 are the stretchers of chairs, the first two being espe- 
cially heavy and fine, and such as are found on the best types of the 
Pennsylvania chairs, or on the ram’s horn arm New England type. The 
No. 1080 is 3,5, inches, whereas the smallest diameter comes down to & of 
largest diameter of the turning on No. 1079 is 2}¢ inches, and that on 
an inch on this latter piece. 

Nos. 1086-1106 represent, on the upper row, the finials of seven- 
teenth century chairs, though No. 1086 was probably not found until 
the very end of the century, and is a distinct decline from the others. 
No. 1087 is one of the best Pilgrim turnings, and No. 1090 is the oddest 
turning. Nos. 1091 to 1095 represent the mushrooms on the front posts 
of chairs, except the last which is the conventional ball on most Pilgrim 
chairs before the mushroom period. 


650 FURNITURE OF THE PILGRIM CENTURY 


Nos. 1096 to 1106 show the knobs on drawers and doors of the 
period, though the first is a flat-headed screw for a candle stand, and 
the next is the foot of a desk box, and the last is a knob running through 
a cupboard door, and having an inside button attached. 

Nos. 1107-1111. Chair legs, No. 1108 being the oak leg of the 
X stretcher Jersey chair table. Its large diameter is 2% inches, No. 
1109 is the leg of the Robinson wainscot chair. 

Nos. 1112-1116 are table stretchers, except the last, which is a chair- 
rung of a New England type. 

Nos. 1117-1119. The first is the walnut post of a court cupboard 
from Durham, Connecticut. Most likely it should be reversed. It is 
not so fine a type as most others on court cupboards. No. 1118 is a 
court cupboard table leg, 34 inches in diameter. No. 1119 is the bulbous 
turning of the Virginia court cupboard. Just above and just below the 
great bulb there is a dowel. This central section of the turning is 6 
inches in diameter, and 8 inches long. 

Nos. 1120-1129 are Brewster, Carver, and mushroom chair rails. 
These are among the most interesting of all. 

Nos. 1130-1140 are the spindles of beds and chairs; mostly, of 
course, of chairs. The five short turnings at the right are all back 
spindles of Carver chairs. 3 

Nos. 1141-1149 are miscellaneous turnings, the second line of four 
above one another being the drops or finials of seventeenth century stairs, 
and the next two in line being seventeenth century banisters. Nos. 1148 
and 1149 are finials on the cross stretchers of lowboys. 

Nos. 1150-1153. Photographs of finials, the first two being of chairs 
of the date of 1700 or thereabouts, and the last two being from a Brewster 
and a Carver. The diameters of the last two are a little more than 24 
inches. Before the shrinkage they were probably 28 inches. 

Nos. 1154-1156. These are turnings on Carver chairs, except the 
last, which is from a Pilgrim slat back. Sizes, in their larger diameters, 
are 24 inches. 

Nos. 1157-1163. These illustrate household utensils. The shovel 
is wrought from one piece and has a curled-over handle. It rests on a 
great mortar which is all a man can lift. The little handled tool in front 
of it is called a froe. It was used to split clapboards. A stick of oak 
about 16 inches in diameter and 4 feet long, and of very straight grain, 
was stood on end. and marked at the center. The froe was then set with 
its point at the center and was struck with a maul or an ax successively as 
the froe was moved about the circle, as we would cut minute pieces of 
pie — war-wedges, so to speak. This accounts for the thinning of the 


FURNITURE OF THE PILGRIM CENTURY 651 


clapboard from the butt. The clapboards were then roughly shaved to 
remove any prominent ridges of the grain. Some dwellings still remain 
with these clapboards in place, where protected by a lean-to roof on the 
back. 

Nos. 1164-1166. Chair finials of the Carver and Brewster type. 
Shown here in half-size. 


WROUGHT IRON IN AMERICA 


Wirnin a recent period much interest has been aroused in this sub- 
ject. The author has sought far and wide for all good specimens of 
wrought iron. He has not confined himself to the earliest types. We 
have hinges which probably date from 1640, and possibly a few latches 
from the same period. The best period of wrought iron was not, 
strangely enough, the seventeenth century, nor even the early eighteenth 
century, although we have many remarkable pieces included within those 
dates. Some of these pieces are also, owing to their rarity or quaintness, 
very much to be desired. If, however, we consider the subject fully from 
the standpoint of style and design, we should say that from the time of 
the Revolution to the end of the eighteenth century was the best period. 
After 1800 there was a rapid decline, except in Pennsylvania. There the 
traditions of the blacksmiths continued. We find, astonishing to relate, 
that good Betty lamps, which are classed in Pennsylvania under the large 
term fat lamps, in the same category with standing fat lamps, were made 
up to and beyond the middle of the nineteenth century! 

In our treatment of this subject, we make no apologies for having 
scattered through the work, in the nature of small cuts at the bottoms of 
pages, a good many specimens of iron, which could not otherwise be in- 
cluded. We have sought to make the showing of lamps in iron and in 
tin as full as our resources permitted. We have excluded all except one 
or two fortuitous pieces of pewter, not that the subject lacks interest, but 
because of our limitations and the fact that other publications discuss that 
branch of household decoration. 

We exclude from our lists the cast latches which came in about 1835. 
They are neither good in themselves nor in sufficient variety to attract 
attention. We exclude also, almost entirely, brass latches and other fix- 
tures, because that is a large department of its own, and merits separate 
treatment. Indeed, brass has been thought of sufficient importance to 
feature largely and continuously in the work of the best English makers. 

The fine and characteristic American wrought latches and hinges, how- 
ever, went out completely from use and from the attention of American 
architects and decorators. In this department we have sought to give a 


652 FURNITURE OF THE PILGRIM CENTURY 


very much fuller setting forth of those subjects than has hitherto been 
attempted. 

Nos. 1167-1175. A series of articles belonging to Mrs. J. Insley 
Blair. The heart motive skewer holder, from which one skewer hangs, 
is the best we have seen. It is dated 1729. These skewer holders are 
now much sought for. The highest piece on the plate is an odd shaped 
waffle iron, and dates 1748. The three-pronged fork is inlaid with brass 
initials “J. D.”, and with a star. 

The large central piece, a spit on a rod, has a foreign aspect but it is 
supposedly American. The next two pieces are pipe tongs. The pipe box 
of tin carries a legend “ Peter Thatcher, Yarmouth, Aug. the 28, 1813.” 
It is the only pipe box we know with a legend, or constructed of tin. 

Nos. 1176-1186. Utensils in the collection of Mr. Francis Mireau. 
On the left is a crude early thermometer. The spiraled trivet is inter- 
esting. The horn shaped affair was to hook to the belt and insert the 
whetting iron, which lies below. The grapples are said to have been used 
in fishing the old oaken bucket out of the well when it cast loose from its 
moorings. There is a shaving mug of tin, a couple of odd shaped chop- 
pers and a Colonial rat trap! 

Nos. 1187-1193. A remarkable series of sconces in glass and decora- 
tive stamped pewter forms, owned by Mrs. J. Insley Blair. The diamond 
shaped sconce is exceedingly rare, if not unique. All the others are much 
sought for and at the present time the pewter discs, which are covered with 
glass to prevent them from tarnishing, are almost as much cherished by 
owners as the style of the two at the top which are made in glass. 

Nos. 1194 and 1195. Two chandeliers belonging to Mrs. J. Insley 
Blair. That on the left is for lard oil and is three-branched. That on 
the right, for candles, is most quaint in shape, the central portion or hub 
being formed of two cones, the bases of which are attached to one another. 

Nos. 1196-1198. This pair of candle sticks is said to have been found 
in the ruins of a church in Manheim, Pennsylvania. They are unlike 
almost anything else that we find in America, but we judge them to be 
a true Pennsylvania product. 

The tall candle stand is a good piece of a type fairly well established. 

No. 1199. A double chandelier owned by Mrs. J. Insley Blair. This 
quaint piece, painted yellow, is said to have been taken from a church 
in Hebron, Connecticut. The church was built in 1762. The crenelated 
crown-like circles of different sizes, are very tastefully done, together with 
the scalloped shaped canopy. ‘Tin chandeliers are now highly regarded. 
Not many of them remain, especially in as good a form as this example. 

Nos. 1200-1205. A series of lighting fixtures owned by Mr. Anthony 
T. Kelley of Springfield. It is a mooted question whether the rush light 





1217-1223. Sconces anp Lamps, 18th CenTury. 





1224-1233. Lamps anp CaNnDLE STICKS. 17th anp 18th CENTURIES. 





1235. Taste Canpe Sranp. 





1236-1239. Four Fioor Stanps with Dousie Brackets. 18th Cenrury. 





1240-1241. Beacon Hoxipers ano Toppy Iron. 





1242. Crock Work Jack. 1243. A Post LanTERN. 





1730-60. 


SrrRiKER ReEsTORED. 


Mo.pep Brass Box Lock, 


1244-1245. 








2 Date ace ogee 











Four Larcues anp DousLe Bracep STRIKER 


1246-1250. 


FURNITURE OF THE PILGRIM CENTURY 657 


holders were made in America. The two examples here are the first in 
the row, and the next to the last. It will be seen that the first has an 
iron tripod base, and the next to the last has a decorated wooden base. 

In each case the arm which opens the nippers is a weight to hold them 
together with sufficient pressure so that the rush light shall not fall, but 
can easily be raised as it burns. We see no reason why these rush light 
holders should not have been made in America. The rushes were common 
and the use of the holders abroad was common. Of course, there was a 
greater abundance here, at least after the very first years, of tallow for 
candles, and of oils. We hardly believe the frugal Pennsylvania and 
Yankee settlers would have failed to provide their own holders, had they 
wanted them. It is possible that they were very little used in America. 
We are bound to say, however, that so far as we are able to trace any 
of these holders at all, they are traced to Europe.. The other oil or fat 
burning lights in this row are sufficiently self-explanatory. 

Nos. 1206-1212. These hinges, designed with a good deal of taste, 
are from Pennsylvania, except the single buck horn which was found in 
Massachusetts. 

The tulip blossom hinge is the best example that has come to our 
attention, although we have recently seen a sketch of another almost as 
good. In this hinge we have the fully developed blossom, which the 
reader is asked to compare with the subsequent examples of the bud, and 
with the examples of the bud, the half opened blossom and the fully 
opened blossom used in various latches. We have not found a fully 
developed latch with a blossom as good as this and of large size. We 
think it quite probable, however, that such a latch existed. The long 
chest hinges in a fine fleur-de-lis pattern are also from Pennsylvania. 
There is an oddity about these hinges which may deceive the collector. 
Their edges were shaped by filing, and we can personally vouch for the 
fact that some hinges known to have been in place for at least one hundred 
years show the bright marks of the file on the edges, whereas the main 
surface has an oxidized appearance. It is known that filed surfaces 
retain their brightness longer than hammered surfaces. There is a 
great variety of designs in Pennsylvania chest hinges. Some of them 
which we shall show, are very attractive. There is scarcely any end, 
however, to the ramifications of design in this department of hardware. 
This fact is the more curious, since in the seventeenth century the chest 
hinges were quite simple, generally merely staples, otherwise called loops. 

Nos. 1213-1216. The attic of the Webb-Welles house, Wethersfield, 
Connecticut, now open to the public. It was photographed as the author 
found it, except, perhaps, for the addition of a chair or two. Curious 
lanterns are hung about, together with herbs. There is a gallery, a small 


658 FURNITURE OF THE PILGRIM CENTURY 


portion of which shows, which is reached by an open stair. People there 
could witness dancing on the main floor of the attic. The house dates 
from 1752. 

Nos. 1217-1223. A series of lighting fixtures belonging to Mrs. J. 
Insley Blair. Above are plain sconces, which nevertheless are very rare, 
with their three candle sockets each. The sconce below, with a reflector, 
is somewhat of a puzzle, as it would seem that a reflector was needed 
directly above each candle. The other reflecting sconces are better known, 
being more or less typical, but are now highly regarded. The next to the 
last in line is roughly shaped in tin to represent a sunburst. The middle 
piece, with a long post, has a handle showing a series of candle sockets 
around it, and is most rare and attractive. It will be noted that we do 
not attempt to date these pieces very precisely. Doubtless some come 
down from the seventeenth century. Most of them are of the eighteenth 
century and a few, no doubt, date from the earlier part of the 19th c. 

Nos. 1224-1233. The first piece is an extremely rare standard for 
Betty lamps, arranged with a crossbar and screw. It is important. ‘The 
lamp to the right on the bottom is a cast Betty lamp, corresponding to the 
wrought sort next it to the right. At the top in the center is a light tram- 
mel with a most quaint device attached. 

The standard to the right of it is of turned wood, another example 
of which we show. It has upon it, however, an earthenware open Betty 
lamp, which is extraordinarily rare. 

The combined rush and candle holder at the right is of great interest. 

No. 1234. A candle stand of iron on tripod feet, with a handle 
at the top roughly scrolled like a buck horn. The crossbar is adjust- 
able. This is one of the rarest pieces we have ever seen, and it has 
great interest because it is a table type, the same general pattern as the 
tall iron floor stand. 

The hight is 22 inches, and the outside measurement of the bar and 
attached saucers is 10g inches. The feet are scrolled in simple pattern. 

It was found in Guilford, Connecticut. 

Owner: Mrs. J. Insley Blair. 

No. 1235. An adjustable table stand for two candles. The ma- 
terial of the post is iron, very nicely wrought, but terminated with a 
turned brass ring, the base of which is milled. The turned base of the 
whole affair is weighted and the reflectors as well as the candle bar are 
adjustable. An extinguisher is caught in a little socket provided for it. 
This was found in Boston. 

Owner: Mr. John H. Halford. 

Nos. 1236-1239. Four floor stands for candles, three of which have 
the conventional adjustable crossbar for two candles, while the last, on 


FURNITURE OF THE PILGRIM CENTURY 659 


the right, has an adjustable bracket for one candle. The third stand in line 
terminates with an iron finial hammered from the bow of the post, and 
the fillet lower on the post is also hammered. In the case of the other 
examples the attached portions at the finial and on the stand are of brass. 

No. 1240. A torch-holder which was found on the North Shore, 
but of whose origin, of course, we are ignorant. It swings on hinged 
sockets and is scrolled with English designs, but we believe it to have 
been long in America. 

No. 1241. Two articles, the left-hand one being a toddy iron. One 
should distinguish between such toddy irons and the goffering irons 
which were toddy irons only by accommodation. 

The other article illustrated under this number is a torch holder which 
was attached to a pole, and which swivels. We name this article, like the 
preceding, a torch holder, but undoubtedly pitch pine was placed in the 
iron basket. The name may be as good as any. 

No. 1242. An iron and brass clockwork jack, to which a pulley is 
attached to turn the spit rod which rests upon the andirons, to roast the 
meat. We had always supposed these pieces to be American. We have 
found two of iron and a third one in which the mandrel was of wood, 
all on the North Shore. We have lately seen one of the same pattern 
that has come from England. These pieces have at the top a kind of 
balance wheel, which was spun by hand when it was desired to start the 
jack. The weight was so accurately balanced that it was intended to 
run slowly. A worm gear is attached to the hand wheel. 

These articles are among the most interesting and curious that remain 
to us from the older day, so that a fireplace fitted with them is of the 
greatest interest. At the Essex Institute, Salem, a fireplace is so equipped. 

We have also seen one at the Hancock House, Lexington, and at the 
Wayside Inn, South Sudbury, and the author has one. There are proba- 
bly others. 

The mechanism is earlier than the clockwork jack invented by Simon 
Willard. It is said that Queen Victoria’s meat was cooked in Windsor 
Castle on a jack similar to this, which has been in use there from time im- 
memorial. 

No. 1243. A lantern to be set upon a post. It is of very good early 
design and terminates with a finial of turned wood. 

Nos. 1244-1245. A brass box lock which, owing to its material, is 
somewhat of an intruder in this work. The author found the original in 
Portsmouth, New Hampshire. Afterwards he found a similar one among 
the unlisted treasures of the Metropolitan Museum. The striker and the 
key are new. The molding of the lock is the unusual and meritorious fea- 
ture. Such locks were in use from about 1725 through the century. 


660 FURNITURE OF THE PILGRIM CENTURY 


Nos. 1246-1248. Wrought iron latches, the central one of which is 
16 inches long and only 13 inches in width. It is on this account that it 
has five perforations for nailing. Undoubtedly it was set on a very narrow 
stile, and it was difficult to attach such a latch on a narrow plate so that it 
would be secure. The left-hand latch is of a somewhat crude heart shape, 
and that on the right is a ball and blunt spear design. | 

Nos. 1249-1250. An unusual latch, the spear of the top of which is 
broken, but faintly outlined. It was 19$ inches long and 34 inches wide. 
The matter of most interest in relation to it is the catch, which may be seen 
to be braced by a scroll turning in two ways. We have seen several of 
these. It shows feeling for design and yet, perhaps, not a very early date. 

Nos. 1251-1256. A series of latches of somewhat unusual interest. 
The first we may call a ball and diamond. The second is a scroll design 
apparently unnamed. The third and largest is one of half a dozen we 
have seen. It is 144 inches long. The fifth in line isa tulip partly opened, 
and more opened at the top than at the bottom. The last is a tulip bud. 

Nos. 1257-1268. A series of latch bars. The one at the bottom is no 
less than 25 inches long. The second in line is finished at the top in a 
spiraled cone. Its total length is 15' inches. With one exception, this is 
the most remarkable which we have seen. It was found in Pennsylvania, 
as was also the fourth from the right. This seems to have been the sug- 
gestion of the Pennsylvania locks with a hollowed ball. The third from 
the left must have had its lifting disc run through a slot in the door. The 
fifth in line is the latest form of latch that can be considered passable. It 
has the plate to attach it to the door. All early forms are nailed simply. 
This piece has a little lifting ball riveted to the latch bar, which is also 
another late type. The long latch at the top came from a church door 
and passed through a slot in the wood, which accounts for its opposite 
form. It has a fine spiral. It is 23 inches long at the hinged portion. 

The origin is Connecticut. 

Nos. 1269-1272. The left-hand latch is of a crude, simple pattern. 
The next is a curious, rather than an elegant design. The third is very like 
No. 1249, except that it is made without the spear terminals. The last is 
a somewhat crude ball and spear. 

Nos. 1273-1275. The first latch is the heart pattern, and the second 
is of a less perfectly shaped heart. The last latch is the triangular pattern. 
There is shown at the top the ordinary simplest form of the catch or 
striker, which is always of a square taper section, driven into the jamb. 
Below are shown the faces or sides of the thumb pieces. 

No. 1276. A latch belonging to Mr. L. P. Goulding, another of 





1251-1256. 


1257-1268. 


Six INTERESTING LaTCHEs. 








TweLve SryLes oF Latrcu Bars. 





1269-1272. Four Larcues. 18th Century. 





1273-1275. Simpre Latcues. 18th anp Earty 19th Centuries, 





1276-1278. Larcues anp A Berry Lamp, 





1279-1280. Cranes or Various STYLEs. 





1281-1286. Six Scrotuep Latcues. 18th Century. 





1287-1290. Four Scroitiep Latcues, 18th Century. 


FURNITURE OF THE PILGRIM CENTURY 665 


which is owned by the writer. It is a very good pattern called the ball and 
spear. 

Nos. 1277-1278. An elaborate and important latch belonging to Mr. 
H. W. Erving. It is not always possible, nor perhaps necessary, that we 
should name these shapes, but we delight to try. In this case, however, 
we admit ourselves at a loss. At the right is a Betty lamp. 

Nos. 1279-1280. AQ series of cranes. The small ones show a pair 
to be used one on either side of the same fireplace, and therefore is per- 
missibly small. The large crane with an ornamental end and a spiraled 
brace originated in Pennsylvania. The other spiral crane is a New England 
piece. We would hazard the judgment that the frequent use of large 
trammels in Pennsylvania indicates their use on a lug pole rather than 
a crane. 

The varieties of cranes are numerous. Their use is later than that 
of the lug pole, which was fixed in the fireplace at a point far above the 
lintel. It was not possible to swing out a kettle. The removal of a kettle 
was therefore a very awkward matter, and somewhat dangerous, the heat 
of the fire being intense unless one waited for it to die down, as was not 
desirable in the winter. The hanging of the crane symbolizes the setting. 
up of a household, and the gallantry of the young husband, to enable 
his wife to swing out the pot where she could manipulate it without scorch- 
ing her face. 

Nos. 1281-1286. A series of six latches, some of which are quite 
important. The second is a very delicate heart pattern, with an attenuated 
spear point. The third is the pointed heart pattern. The fourth, we 
suppose, might be named from some flower, but we leave that matter to 
the botanists. 

The size is 164 by 2% inches. It was bought in New York. 

The last in line is a handsome pattern of extreme rarity. 

Nos. 1287-1290. The left-hand example is merely a triangular plate 
with the corners cut off. The next is a crude heart pattern, and the third 
is a small ball and spear design. The last in line is one of the best we 
know for design, being of a flattened ball shape with the spear. One 
notices the ornamental cutting on the handle. In this connection, one 
should observe the handle decorations, because the style depends a good 
deal upon their character. 

No. 1291. This might perhaps be called a thistle pattern. It is the 
most elaborate design we know. While only 14 inches in length, it sue- 
ceeds in concentrating a good deal of decoration in a small space. 

No. 1292 is a very large and simple latch, probably intended for a 
public door. 


666 FURNITURE OF THE PILGRIM CENTURY 


No. 1293 is said to be from a church. door in Connecticut. It is 23 
inches in length and while not elaborate, is a very dignified piece. 

No. 1294 is the largest latch we have seen in an ornamental pattern. 
It is 26 inches in length and might perhaps be called a swordfish design. 
The spike at the top is hammered to a tapering cone. No doubt this also 
is a church door latch. 

While foreign latches and hinges are, to a very great degree, more 
elaborate than our own, they would seem very inappropriate on American 
doors. Where they have been brought over and affixed to our doors they 
are much out of place. The charm of hardware is in its agreement with 
the simple architectural lines of the eighteenth century. Foreign hardware 
is spoiled by attachment to American doors, and the doors themselves are 
spoiled. 

The thumb pieces of latches are sometimes held from dropping out 
of the throat or mortise through which they pass by splitting the section 
on the inside of the door, and swinging it out on a curve, making a kind 
of cusp. The other method is to attach it by an iron pin or dowel, passing 
through the throat and the thumb piece. We are inclined to believe the 
split thumb piece to be the older form. The thumb pieces are sometimes 
more or less elaborate, but in every case they should curl at the end and, 
in the best instances, a secondary short spiral terminates them. The small 
straight inside termination, such as we see on doors after 1800, gives no 
purchase by which to open the door, and we are often at a loss to know 
how they could have been used. 

Nos. 1295-1299. The two examples on the left are Pennsylvania 
wrought combined locks and latches, the first with a rolled scroll and the 
second with a hollowed thumb piece. These latches spring. The third 
example is that of a native chest lock as found in Pennsylvania. It was 
attached on the interior. Some say these locks are foreign. Others main- 
tain that they were made in Pennsylvania. They are very much like the 
intricately elaborate etched locks of Spain, except that they are simpler. 

No. 1300 is one of two known. It is curious rather than elegant. The 
origin is Connecticut. 

No. 1301 is another example of the ball and spear, with a looped 
latch bar. 

Nos. 1302-1309. A series of eight latches, two of which are closely 
like others shown, whereas the fourth in line is a good type of the simple 
large heart latch. It has good design on the handle. The third from 
the right has the points turned over to be struck into the door when the 
latch is attached, and thus to form a secondary and additional means of 
rigidity. The second from the right is the simplest and commonest form 
of the latch as used at the last of the eighteenth and well into the nine- 


FURNITURE OF THE PILGRIM CENTURY 667 


teenth century, in which the plate is a simple disc or thumb-shaped piece. 
Many of these are still in place on houses of the period. Quite generally 
the thumb-piece is held in place by a pin. The last latch on the right is 
interesting because the handle is beveled, showing three faces. 

Nos. 1310-1313. The left-hand latch shown here is possibly a remi- 
niscence of a tulip bud, but we should rather call it a roll-pointed triangle. 
The example at the right has the fleur-de-lis above a ball at the top, and 
at the bottom an outline and an incised heart, of which we have noted no 
other examples. It was purchased in New York. 

Its length is 174 inches. 

We elaborate later the use of the heart motive in hardware in matched 
sets for doors. 

Nos. 1314-1318. Five latches, the first being a broad heart, the next 
a pointed heart, the third a rough triangle, the fourth a rather carefully 
outlined heart, and the last being the rare tulip pattern. We have the 
beginning of the opening of the bud below and a somewhat later stage 
above. This should be compared with No. 1255 and also with No. 1256 
and other tulip bud patterns. 

No. 1319 is a large and elaborate latch owned by Dr. Irving P. Lyon 
of Buffalo, New York. We may call it a swordfish design. The length 
of the entire handle plate is 244 inches; of the handle proper, 83 inches; 
of the latch bar, 17 inches. The measurement around the curves of the 
handle is 88 inches, and the length of the spike is 55 inches. The origin 
of the latch is not certain, but it is known to be American, and it probably 
came from Connecticut. 

The special and perhaps unique design of the latch bar is very hand- 
some. ‘The catch also is braced by two scrolls, practically at right angles. 
It is all in all, perhaps, the most important example that has come to our 
attention. 

Nos. 1322-1323. A large latch found in western Massachusetts, in 
which the ball element is repeated and the plate is terminated in a pointed 
triangular section. The scrolls cut to parallel the balls are a highly 
decorative feature. The thumb piece is of good design. The bar is 
flattened and scrolled at its inside termination beyond the ball. The guard, 
the bar, and the handle have the repeated molding to unite them in motive. 

The size is 23 by 44 inches. 

No. 1324 is the long section of a Pennsylvania chest lock, a kind of 
cock’s comb. : 

Owner: Mrs. Edgar Munson of Williamsport, Pennsylvania, who has 
this hinge on an original Pennsylvania chest. 

Nos. 1325-1326. A skewer holder with the original skewers. No 
doubt the skewer, being a small article, was quite likely to be mislaid. In 


668 FURNITURE OF THE PILGRIM CENTURY 


well-regulated households, therefore, a skewer holder was hooked on the 
beam. 

Nos. 1327-1328. A small trammel with Betty lamp base attached. 
This is a quaint and unusual piece owned by Mr. H. W. Erving. 

Nos. 1329-1331. The pair of andirons on the left is an unusual 
American form. The rings are more common in English examples. On 
the right there are two single irons showing types of andirons, one with 
a bend over cone, the other with a scroll and disc. The piece in the fore- 
ground was an ash bar to place before a small chimney fireplace. There 
are four spirals at the corners to prevent its falling over, as it is flat and 
set on edge. The pieces with rings are two forms of griddles, both 
swiveled. At the right of them is a small charcoal stove. 

Nos. 1332-1339. It is a great pleasure to find and to show so many 
different types of trammels. Until recently these interesting articles have 
been very much neglected. That which is dated 1697 is the oldest dated 
piece of iron we have seen of this kind, and also the quaintest and the 
largest. We therefore regard it more highly than any other. It could 
not have been used except on a lug pole about nine feet above the floor, 
in order to hang the great kettle on the hook at the base and have it come 
above a backlog. The etchings or scrolls have been filled with chalk in 
order to permit their outlines being discerned. 

Next on the right is a chain trammel, the hight of which was changed 
by the use of the small hook at the top. All the links of this chain are 
twisted and the large hook at the bottom is elaborately etched on its 
outside. 

The long trammel to the right of this has the heart motive and is quite 
ornate and attractive. It is all original except the wooden handle at the 
top, which had been lost or burned. It of course was used to change the 
hight of the trammel. 

On the extreme left of the page is a very unusually shaped trammel 
with wrought scroll. The very short trammel has a heart shaped dated 
and initialed scroll quite like that found on a Betty lamp to be shown 
later. The other trammels with holes and hooks are the more ordinary 
sort, but all those shown here have some especial merit. 

Trammels give much character to a fireplace, especially those in the 
serrated form. Of course, they are adapted only to the larger fireplaces. 
They connect us with the earliest period of fire making known to our 
branch of the race. The trammel of 1697, when extended to its full 
length, was about 80 inches long. Some of the chain trammels are almost 
as long. A great fireplace with its series of chains and trammels was most 
impressive. ‘Trammels are very common still in Pennsylvania, but in 
New England they are rare, especially in their finer forms. The writer 





1291-1294. FLowER Biossom Larcu anp Turee Cuurcu Door Latcues. 18th CenTury. 





As A ME ei 


1295-1299. Five PENNsYyLVANIA Locks. 18th CenTury. 


1300. 


Quaint CuyurcH Latcu. 


1302-1 309. 





1301. Barty anp Spear Latcu. 





18th ano Earty 19th Century Wrovucut Latcues. 





1310-1313. Rorrep Trance, Heart anp FLEUR De Lis Larcues. 18th 
CENTURY. 





1314-1318. Heart anv TuLip Wroucur Latcues. 18th Century. 





1319-21. Sworprish Larcu. 1322-23. Decorative Latcu. 


1324. Biro Heap Hince, Pennsytvania Cuest. 18th Century. 


FURNITURE OF THE PILGRIM CENTURY 673 


has searched far and wide to obtain the fullest possible showing compatible 
with our space. 

No. 1340. A trencher of curly maple, 13 by 14 inches. The shrink- 
age is shown by the difference in diameter. It proves that these pieces 
were turned while they were green. Such a trencher, together with great 
burl bowls and smaller trenchers, one at each plate on a trestle-board, is 
an assemblage of articles that transports us at once into the Middle Ages, 
and affords a fine rich old flavor to human life. 

No. 1341. A reflector composed of small decorated pewter discs set 
behind a sealed glass to prevent tarnish. 

No. 1342. A Betty or fat lamp on a four-legged stand. All parts 
of this piece are beautifully wrought and the Betty lamp itself is most 
carefully done. The lamp is adjustable. The hook of the shaft at the top 
was, of course, for a handle. The hight is just under two feet. The 
saucer base is 74 inches in diameter. The feet are welded into a unit and 
a hand bolt attaches them to the stand and the stand to the saucer. A 
table lamp of rare merit. 

Nos. 1343-1347. On the left, a simple pair of pipe tongs, 254 inches 
long and coming to a very delicate point. The fork and spoon are highly 
attenuated and are in the hight of the modern fashion! The spoon is 
ornamented with a delicate fillet and a hook. The ladle is all wrought, and 
has two pouring nozzles. The piece on the right is a flatiron holder. The 
two pieces at the right are owned by Mr. L. P. Goulding. 

No. 1348 is a heart shaped skewer holder of very interesting acho 
it being stamped with entwined heart decorations. 

No. 1349. A handsomely scrolled foot scraper with twisted standards. 

Owner: Mrs. De Witt Howe. 

Nos. 1350-1353. Four lighting fixtures owned by Mrs. J. Insley 
Blair. Three of these have conical bases of tin designed usually to be 
filled with sand. The second piece is a trammel light. The third is a 
most unusual example, the like of which we do not remember having seen, 

Nos. 1354-1355. A metal and a glass sconce belonging to Mrs. J. 
Insley Blair. 

Nos. 1356-1360. Hinges found in the part of Pennsylvania where 
the Moravians did their work. We presume the small hinge showing a 
cross in a circle is a motive remembered by them from their old world 
home. The other scrolls are most interesting and are of a sort which they 
love to use on their homes and ecclesiastical buildings. 

Nos. 1361-1372. The long hinges are of Pennsylvania chest types. 
The hinges on the right are forked or horned, or simply scrolled examples 
for doors. The pair of hinges with a butterfly at one end and an I at the 
other is very unusual. 


674. FURNITURE OF THE PILGRIM CENTURY 


Nos. 1373-1375. It isa great pleasure at last to assemble a complete 
latch set doubtless designed as such. It is in the open heart scroll pattern. 
The origin is eastern Pennsylvania. We do not remember having seen 
attention called to the fact that the hinge and the latch in the best de- 
signed American hardware were harmonized as we find them here. 

The length of this latch is about 19 inches, and the disc has a diameter 
of 4 inches. The rise of the latch-bow is more pronounced than any other 
we have seen, being 3 inches. What an impressive entrance such hardware 
on an old and worthy door must have supplied! 

No. 1376. A two-tiered chandelier of wood and tin, owned by Mr. 
Anthony T. Kelley. The openwork of the wooden scroll and the quaint- 
ness of the whole design, by which the upper tier, with a smaller number 
of lights, alternates between every other lower light, is most excellent. 

Nos. 1377-1385. The hardware assembled from St. Stephen’s 
Church, East Haddam, Connecticut, by Mr. Morgan B. Brainard of 
Hartford who interested himself, when the church perished, in seeing that 
this memorial was retained. The latch is somewhat different from any 
we have shown, and almost as good as any known. Most of the objects 
on the board explain themselves. That on the extreme right is of course 
the bolt corresponding to the piece immediately under the latch. One 
was pushed into the lintel and the other into the door stool. We have 
here an important date, as the edifice from which this hardware came was 
not completed until 1795, showing that the most decorative hardware 
used in America was found in the last quarter of the eighteenth century. 

Nos. 1386-1389. We have sketched from old hinges these examples. 
The first are the scrolled HL; the next are the double L hinge. At the 
top on the right is a butterfly of the earliest style in which no pin was 
used, but a tongue was wrapped around a slot to form the parts. At the 
bottom on the right is an old shutter hinge such as has been found on the 
North Shore and examples of which are still known. 

Nos. 1390-1410. This large board of quaint hinges exhibits many 
of the earliest and best varieties. In the precise center is a single one of 
the cock’s comb hinges. This example is in iron. They are sometimes 
found on English furniture in brass. There is a house in Connecticut 
nearly all the doors of which are attached with this sort of iron hinge. 
Difficult as it might be to pry them from their original fastenings, it has 
been found utterly impossible to pry them away from their present owners. 

A pair of scrolled HL hinges flanks the cock’s comb. At the upper cor- 
ners and elsewhere on the board are the three different types of gudgeons, 
one plain, one ragged and one with a hand screw roughly worked. The 
minute hinge on the lower left is the usual cotter pin, otherwise called a 
staple or wire or clinch or loop hinge, used on the earliest American chests 


FURNITURE OF THE PILGRIM CENTURY 675 


and to some extent on simple small cupboard doors. The strap hinge, 
which is necked somewhat, that is, drawn in as it approaches the roll for 
the gudgeon, is of the better type. The hinges with battle-ax heads and 
discs are from Long Island, perhaps, but more likely from Pennsylvania, 
where we have seen many. 

The curved hinge is called a fish tail. Of course the object of curving 
it was the same as making the L hinge or the H hinge — to secure strength 
through driving nails in different strata of wood. 

The hinge on the extreme right is called a spear point strap and wedge. 
That at the bottom on the left is called the strap and butterfly, but the 
point of the strap is the commoner plain disc. There is also on this plate 
a plain H hinge and an offset H hinge, and a pair of strap and horseshoe 
hinges. 

No. 1411. A twelve-light chandelier of tin, the center, of course, 
being hollow. The design was drawn for the author by Strickland & Law 
of Boston, who were acquainted with the original. 

Nos. 1414-1415. The object on the left is a handsome mortar about 
22 inches in hight. The pestle is made in the form of a great maul, and 
is also turned. It was found in Woodbury, Connecticut. The other object 
we of course had to inquire the use of, and we learned it to be a still. We 
did not know which end up to set it in photographing without investiga- 
tion. It seems that it was used in the Ballard Tavern at Ballardvale, 
Andover, in the seventeenth and eighteenth centuries. 

Nos. 1416-1426. A series of locks. That at the top on the left is a 
gate lock. The wooden locks are large and have quaint keys. On their 
under side is mortised an iron lock of sheet metal like the second lock on 
the left. The five examples at the bottom are brass box locks, except the 
two padlocks. These last are of Pennsylvanian origin, and the others were 
found in New England. We have shown the drop handles detached. 

Nos. 1427-1441. A series of chest or door hinges, and five designs of 
shutter fasteners, all except the minute design of the latter being found 
in Pennsylvania. The hinges are somewhat crude and simple. The small 
plain pair of T shaped hinges, one of which is broken, was: presented to 
the author by Mr. Chetwood Smith. They are probably as early as 1700. 

Nos. 1442-1443. A pair of sconces with their wooden bases, from 
which the sconces may be lifted and carried about. They are brass tipped 
and very quaint and old. It is unusual for American candles to be set on 
spikes. They were found near Guilford, Connecticut. ; 

No. 1444. These long tongs with teeth are so far unique in our ex- 
perience. They are supposed to have been used to take up coals and place 
them in warming pans. They are owned by Mr. Mark M. Henderson. 


676 FURNITURE OF THE PILGRIM CENTURY 


Nos. 1445-1450. On the left are a pair of Pennsylvania chest hinges. 
The next pair are odd in respect to the fact that at one end there is a staple. 
The next example is one of a pair, whose mate is missing. It is very taste- 
fully scrolled. 

Nos. 1451-1455. A pair of interesting pronged hinges bought in 
Boston. On the upper right corner is a pair quite resembling ox shoes. 

Nos. 1456-1462. On the left is an interesting little hinge with a 
crown decoration on one side of the disc. It was presented to the author 
by Mr. Charles R. Stauffer, Norristown, Pennsylvania. The next pair of 
handsomely scrolled hinges were perhaps made by the Moravians. The 
next is an odd single hinge, the application of which is doubtful. The 
next pair is a variant of the other large pair, but here the ends of the 
scrolls terminate plainly, and there they are like mouths. 

Nos. 1463-1470. All the hinges here shown are various types of chest 
hinges, the bottom piece being the most interesting as it is scrolled asym- 
metrically. The pair on the right are unusual gudgeons; that is to say, 
they are attached to the outside of a door to carry the hinge end. 

Nos. 1471-1488. On the outside is a pair of hammered H hinges 
terminating in arrows and with rolled ends to receive the gudgeon. One 
should note that this hammered and tapered H hinge is much earlier than 
the usual H and HL hinges, which are cut from sheets. At the center 
there is a scrolled T hinge, one end of which is like one side of an H or 
an I hinge. It is flanked by a very handsome pair of butterfly hinges. 
The long and delicate straps terminating in arrow ends are good. 

Just inside the two outside hinges are a pair of hinges with offsets to 
strengthen the attachment. The other examples may explain themselves. 

Nos. 1487-1491. The long shovel is otherwise called a peel. It was 
used to handle bread, pies, and pots in the bake oven. The other objects 
are obvious. 

Nos. 1492-1494. A single huge butterfly hinge 14 inches in length. 
It was found in Connecticut. The pair of strap and butterfly hinges is of 
the sort often found in seventeenth century houses, some of them running 
back to the middle of the century. 

Nos. 1495-1496. Two tall candle stands of good and unusual design, 
owned by Mr. Edward C. Wheeler, Jr. It will appear that the legs are 
beveled from the center to a thin edge. The left hand stand contains 
the sixth example we have seen of this sort of pipe tongs, and the right 
hand stand is designed for a Betty lamp with a base to fit the lamp. 

Nos. 1497-1498. These little affairs are called bird trammels. They 
are small and light and if wrought iron can ever be called dainty, they 
are so. 


FURNITURE OF THE PILGRIM CENTURY 677 


No. 1499 is a small bracket with a secondary shelf slotted to serve as 
a support to prevent the over-setting of a candle. It is said to have been 
found in North Carolina, and is quaintly carved, and we imagine belongs 
to the early part of the nineteenth century. 

No. 1500 is a very fine Betty lamp reported to have been found on 
Cape Cod. It has a heart-like escutcheon with the legend “Th. A.,” 
below which are crossed axes. The quaint feature of this Betty is that 
the hook is straightened at the end to form a spike, which could be thrust 
into the wall, instead of having the spike in a separate scroll. 

No. 1501 is an unusual trivet. Of course the word “ trivet ” suggests 
an object with three legs. This, like various trivets, has four legs. It 
has a handle which was perhaps at one time the basis for attaching a wooden 
handle. ‘This piece is reversible. 

No. 1502. This is the original device of the double boiler. It is 
quaintly arranged so that the protected water kettle can be swung from 
the downward scroll of the bar of the larger kettle on a pothook. T'wo 
pothooks, in turn, attach the upper bows to a crane. We have a second 
kettle in better condition than this. 

Nos. 1503-1511. A series of eleven hasps, some quite simple, and 
others like the largest, with the scrolled ends, rather elaborate, being 
etched or covered with a stamped and scrolled design throughout its length. 
The second perhaps was used on a chest. Most of them were for doors, 
and they date from about 1700 to about 1900. 

Nos. 1512-1514. On the left is a large disc latch found in Con- 
necticut. It is most quaint. The size is 134 by 54 inches. The outside 
margin is cut in fine scallops by the use of a file. 

No. 1515. The piece on the right is a spoon rack such as we find along 
the Hudson. It was used by the Knickerbocker settlers, who designed a 
considerable number of shapes, several of which we show and some of 
which have been shown in other volumes. Its length is 24 and its width 
is 84 inches. In each crossbar there are four slots, so as to hold a dozen 
polished pewter spoons, the joy of the Dutch housewife. 

Nos. 1516-1521. Forks, skimmers, ladles, spoons and a boat-shaped 
wrought vessel for dipping wicks. This last might also serve as a dripping 
pan. On the right is a pair of pipe tongs similar to others shown. These 
large forks were called tormentors. Let those who do not know what this 
means remember their old theology. 

Nos. 1522-1526. A series of trammels and pothooks, the bottom one 
of which is a swiveled hook. 

Nos. 1527-1528. A pair of andirons which scrolls outward and up- 
ward, and then outward again in its terminating octagonal ball. A very 


678 FURNITURE OF THE PILGRIM CENTURY 


interesting example. The right hand andirons have a double set of hooks, 
on which was laid a roasting spit. Either set of hooks could be used to 
adjust the roast from the fire as desired. 

No. 1529. A pair of Hessian andirons belonging to Mr. J. Stodgell 
Stokes of Philadelphia. They are the most remarkable pair we have seen, 
being puddled in the early style and designed quite differently from the 
usual Hessian type. The mustaches are caricatures, being carried to the 
ears. The entire attitude is one doubtless purposely outlined to excite 
derision. They are very heavy and substantial. 

No. 1530. An interesting wall sconce belonging to the George F. Ives 
Collection. 

Nos. 1531-1533. Iron floor candle stands, the property of the George 
I, Ives Collection. We are not certain about the left hand pair. They 
have a foreign look, but we think Mr. Ives was not able to verify the 
matter. 

Nos. 1533-1539. The stag horn hinges are of Pennsylvanian origin. 
The handles are early iron examples and the escutcheon is struck up from 
a die, probably by hand. 

Just under the pair of hinges is an attenuated strap and heart hinge. 
Weare glad to illustrate this as showing another correlation between hinges 
and latches, which latter are often found in the heart design. The largest 
hinge is an L with a serpentine short arm. It is found in eastern Massa- 
chusetts. There is another pair of these known in Sudbury. We count 
this hinge important. 

The length is about 38 inches and another has been found of about 40 
inches. 

No. 1540. A table stand of iron, rather elaborately wrought and with 
an extinguisher attached. All the elements indicate a good deal of thought 
on the part of the designer, although the piece fails of that simplicity 
which we like to see in Colonial hardware. 

Nos. 1541-1547. A series of candle-sticks and sconces in the George 
F’. Ives Collection. The stand on the left is for setting the Betty lamp 
upon. The two pieces are disconnected when desired. 

The long fishhook-like piece is said to be a loom light. They were 
commoner in England. 

Nos. 1548-1552. The hinges here sketched are attached to furniture 
in the author’s possession and it was not feasible to photograph them on 
that account. The two examples at the left are variants of the so-called 
rat-tail hinge. The upper section is mortised into the wood and the pin 
section is clinched. The three hinges first in line are from cupboards. 
The last is from a lady’s vanity box. The hinge at the bottom is on the 
table cabinet earlier shown. 


FURNITURE OF THE PILGRIM CENTURY 679 


We know that sometimes elaborate hinges were brought from abroad 
for use even in the seventeenth century. It is now impossible to know 
whether this hinge is American or not. 

Nos. 1553-1555. Tall candle stands, two of which were bought in 
New York and the third is said to have come from the South. 

Nos. 1556-1557. Candle stands of wood owned by Mr. Edward C. 
Wheeler, Jr. On the right it appears that the candle is simply hooked by 
its thumb-piece over the end of the crossbar. 

As we began this book with chests, it may be appropriate that we end 
with the same class of objects, in the nature of a valedictory. 

No. 1558. The chest at the top is owned in Pennsylvania. It dates 
from the middle of the eighteenth century, and is therefore very old for 
a walnut chest. The series of handles indicate a coming in of the Chippen- 
dale style. The picture does not show the initials nor the date. 

No. 1559. A pine carved and scrolled chest belonging to Mr. Horatio 
C. Armstrong. The ogee cut of the legs on the ends, the notch carving 
on the ends of the front boards, the heavy molding, the initials and the 
ornamental scroll at the center, and the brackets together with the central 
skirt ornament combine to render this piece, though of pine, interesting 
and striking. 


METHODS OF COLLECTING 


A\pprEssING ourselves now to the collector with a conscience 
we may suggest profitable methods of search. Pictures of desirable 
pieces shown to small dealers now and then will bring out the knowledge 
of and perhaps result in the securing of similar examples. The dealer is 
himself often surprised at the desire of the collector for a particular 
piece, a picture of which is shown. He may know of its existence and 
has not, perhaps, thought it worth while to buy. We have not found 
advertising for particular pieces a very profitable method of securing 
results. With one notable exception the effort has so far proved useless. 
That exception, however, was so important that it was worth all the 
effort made. Probably persons whose eagerness is great and who are 
willing to spend freely may find advertising an attractive method. 

We have considered, though we have never attempted, circularizing 
the householders of districts where ancient furniture is likely to be found, 
using illustrations. 

Those who wish to search personally from house to house will do 
well to meet householders at their doors with pictures concerning which 
concrete inquiries can be made. Householders who would perhaps 
resent or at least be annoyed by inquiries of the ordinary sort may 
be interested in seeing pictures of unusual pieces. 


680 FURNITURE OF THE PILGRIM CENTURY 


The large dealers ultimately secure a great portion of the finest 
examples. One who seeks to collect should not neglect the large shops 
especially since it is found that objects not wanted in one part of 
the country are eagerly bought in another part. It may, therefore, be 
that it is possible to secure in Pennsylvania what could not be found 
in New England or one may see in Boston what is scarce in New York. 

Of late dealers are advertising a great deal. The number of such 
dealers probably runs to several thousand and there are some hundreds 
who are really living from the proceeds of their business. It is to be 
noted, however, that important pieces are seldom advertised. It is 
scarcely necessary to advertise them. Almost every dealer has a waiting 
list, as we may say, of customers who have bespoken any rare article that 
may come into his possession. Nevertheless there is now and then a 
dealer who thinks that by making a rare piece known he may secure the 
attention of an important customer. All large dealers try to hold a 
few important pieces to make their places of business attractive to the 
collector. They do not like to let their last important article go. 

It will be found that as a rule when a rare piece comes on the market 
the price of it is fixed at a round sum because there are generally eager 
collectors who are willing to pay handsomely for a piece that fills a 
gap in a collection. If, however, the dealer has miscalculated as to 
his market and the one or two whom he had in mind for his “ find ” do 
not buy he is then thrown upon the broader public who perhaps have not 
yet grown to feel the importance of the article in question. It is, of course, 
always dangerous to leave a “ find ” in the hands of a dealer if a collector 
really wants it. Any day a very wealthy or a very shrewd collector, not 
by any means always the same person, may snap up the treasure. One 
must coolly determine whether he will take his chances on securing the 
piece at a lower price or buy it when found. Responsible dealers with 
capital who are willing to wait may perhaps hold to their original figures 
for a long time. 

It is in one sense unfortunate that there is no market value for 
antiques. In another sense much of the zest of collecting arises from 
the recognition of importance. The gullible are being taken in every day 
by spurious articles or by extreme prices. It is not worth while to waste 
pity upon them because they have not thought it worth while to follow 
methods of ascertaining values. 

The values set on furniture by their original owners are often most 
absurd. To all who have not made a study of early furniture an antique 
is an antique. Ten times the value of an article is sometimes asked by 
an owner. In fact more often than otherwise the original owner asks 
higher prices than the dealer. 





1325-1326. Skewers AnD HoLpERs. 1327-1328. Berry TRAMMEL. 


= 


1329-1331. AnprRons, GrIDDLEs, AND CHARCOAL STOVE. 








1697-1770. 


Eicut Types or TRaMMELS. 


1339- 


1332— 





Pewter Disc Sconce. 


1341. 


Curty Marie TRENCHER, 


1340. 





1342. Betry Sranp. 1343-1347. Pipe Toncs anp oTHER UTeENsiLs. 18th CENTURY. 





1348. SkeweR Ho per. 1349. TwisTeD SCRAPER, 


RoR 





aba 


1350-1353. CanpLe Stanps or Unusuat Design, 18th Century. 


1354-1355. 





A Mera anv a Gtass Sconce. 








1356-1360. Pennsytvania Moravian Hinces. 17th anv 18th CENTURIES. 








1361-1372. Cuest anp Door Hinces. 18th Cenrury. 


1373-1375; 


An Open Heart Motive Door Ser. 


1376. A WoopEen Aanpd Tin CHANDELIER. 





17th or 18th Century. 





18th Century, 





1377-1385. A Cuurcu Door Ser. 




















1386-1389. H, HL anp Rappep Jorsr Burrerriy Hinces. 17th anp 18th 
CENTURIES. 





1390-1410. American WrouGut Hinces. 17th ano 18th CENTURIES. 


LY 





1411. A Tin Sconce. 18th Century. 





1412-1414. Morrar anp STILL. 1415-1426. Locxs or Woop anv Brass, ETC, 





1427-1441. Hinces anp SHUTTER FasTENERS, 18TH CENTURY. 





1442-1443. DousBLe Purpose Sconces. 1444. EmBer Tonos. 





1445-1455. Various PENNsyLvaANiIA WroucHT HinceEs. 18TH CENTURY. 





1456-1462. Late 17th anp Earty 18th Cenrury PENNsyLvaniA HINGEs. 





1463-1470. PENNsYLVANIA CHEST AND Door Hinces. 18th Cenrury. 





m \ 
1471-1486. Various New Enciann Hinces. 18th Century. 





1487-1491. Fireptace UTeEnsi1s. 1492-1494. Opp HIncEs. 





1495-1496. Froor Sranps, 1497-1498. Birp TRaMMELs. 





1499. Carvep BpackEeT FoR CANDLE. 1500. Berry Lamp. 





1501. DousLe Enpep TRIver. 1502. Dovus Le BoiLer. 





1503-1511. Types of Hasps. 18th CenTUurRY. 


aes 


Soo AT ETAT 





sity See ae 


1512-1515. 


MRE 


1516-1521. 





UTENSILS. 








1527-1528. Opp Pairs oF Anprrons. 18th CEenrTury. 





1529. Very Unusuat Casr Hessian Anpirons. 18th Century. 





1530. Wau Sconce. 1531-1532. FLoor StTanps. 





1533-1539. A Serpentine H Hince, Srac Hinces, HanpLeEs, ETC. 





1540. AN ExaporaTe TaBLe Sconce. 





1541-1547. Various CanbLeE Sticks, 











1548-1552. Five Unusuat Hinces. 





1553-1555. THREE Fioor Sranps. 


Fine CarvEp AND SCROLLED CHEST. 





1690-1710. 





Pots 
Oe 


An 
vi 


INDEX 


A 


Abington, Mass., 425. 

Albany, 235, 495. 

Albany Historical Society, 495. 

Alden, Charles, 449. 

Alden Family, owner of another serrated cup- 
board, 206, 426. 

Alden House, Duxbury, 462, 554, 555. 

Alden, John, 19, 20, 206, 294, 431, 444, 462. 

Alden, Priscilla, 444. 

Alden, Stephen, 581. 

Alleghany, 282. 

Allis, Elizabeth, 87. 

Allis, John, 87. 

Allyn, Mary, 84. 

American, Furniture, see title page, Explana- 
tory Note, 19, 20, 148. 

American Type, 26. 

Andirons, 170, 189, 225, 254, 304, 317, 443, 
456 bottom, 668, 677, 681, 696. See Hessian 
and Washington andirons. 

Andover, Ballardvale, 154, 472, 477, 479, 648. 

Anne, Ship, 20, 206. 

Ansonia, Conn., 230, 525. 

Antiquarian Society, Concord, Mass., 400, 421. 

Antiquarian Society of Worcester, 550. 

Antiques, 205, 466. 

Antiques, love of, 18. 

Antrim Chest, Antrim, N. H., 77. 

Appalachians, 388. 

Apple, 142, 335, 498, 508, 553. 

Apron, alternate term for skirt or valance of 
table on cabinet furniture, 477. 

Arch Carving, see carving, flute. 

Arched Panels, see panels, arched. 

Architectural Types, 13, 31. 

Architrave, in furniture not technically correct. 
Cornice better term, 211. 

Ark, a chest, 17. 

Arms, see chairs, arm. 

Armstrong, Horatio H., collection of, 125, 142, 
162, 180, 328 bottom left, 341, 679, 700 
bottom. 

Ash Bar, 668, 681. 

Ash, material of Pilgrim chairs, 275, 276, 280, 
292 top left, 294, 296 top left, 298, 299, 300, 
306, 360, 513. 

Asters, see carving, sunflower. 

Astragal, same as mold, arch, which see. 

Attic, 251 bottom left, 269, 436, 644, 657. 

Auger Pod, old method, 21. 

Author, see Nutting, Wallace. 


B 


Ballard, Ballardvale, 154, 675. 

Ball Feet, 21, 43 bottom, 56 bottom, 57, 58, 61, 
67 top, 69, 70 top (turnip), 76 bottom, 92, 
97, 98, TOI, 105, 118, 123, 124, 144, 152 top, 
157 bottom, 158, 162, 171, 175, 176, 180, 200, 
235, 337, 347 good style ball larger than post, 


450, 467, 471, 475. Knobs, Balls or Shoes 
under front feet of Flemish chairs, which see. 

Ball Turning, 53. See also turnings. 

Band Box of Wood, 529 bottom right, 531. 

Banister, balusters, see decorations, applied, also 
41. 

Banister Back Chairs, see chairs, banister back. 

Bar, door, 485, 489. 

Barker, Jonathan, 435. 

Barrel, Hornbeam, 450, 470, 577, 581. 

Bartlett, Mrs. N. E., 477, 479. 

Basswood legs, 560. 

Bates, Mr. Albert C., 513, 579 bottom. 

Battens, same as cleats, 450, 453, 464, 466, 469. 

Bed Poles, 443, 457. 

Beds, pictures, 445-463; best style is taper post, 
436; curtains, 441, and see pictures, 449, 455 
ff.; 597; none found here like huge English 
beds, 436; tester, cover, horizontal, on bed 
canopy, 436, 441, 463. 

Beds, bracket canopy, 442, 452, 461. 

Beds, canopied, 448, 455, 456, 457, 458, 461, 
462, 463; peacock, 441, 444, 454. 

Beds, crewel work, 442, 455. 

Beds, four poster, 441 ff. 

Beds, “ hired man’s,” 442, 451 top. 

Beds, importance of, 200, 224. 

Beds, low post, 442, 451. 

Beds, oak, 443, 456. 

Beds, press, 441, 448 bottom. 

Beds, settle, 408, 430, 442, 452. 

Beds, slaw, 448 bottom, 461. 

Beds, Spanish, 622 left, 647. 

Beds, trundle, 420, 441, 442, 448, 451, 458. 

Beech, 335, 431, 435, 447 bottom. 

Beehive, 498, 507. 

Behrend, B. A., collection of, 37, 71, 78, 106, 
144 bottom, 146 top, 164 bottom right, 171, 
175, 185, 302, 316 bottom, 317, 324, 332 
bottom left, 334 bottom left, 342, 347, 365, 
374 top right, 366, 379 left, 434 bottom, 465, 
473, 512, 525, 527 bottom left, 531, 535, 537 
bottom right, 570, 577, 583 right, 504, 599 
bottom, 600, 596 middle and right, and bot- 
tom left, 600, 605. 

Belden, 87. 

Bellows, 167, 185. 

Bernard, J. F., collection of, 209, 236. 

Bethlehem, Pa., 312. 

Betty Lamps, cast, 653. 

Betty Lamps, hanging, 338, 537; 663, 665, 
673, 693 bottom right; see lighting fixtures. 

Betty Lamps, on standards, 307, 318, 585, 594, 
653, 648, 673, 683 top left. 

Bible in Boxes, 160. 

Bible, Boxes, see boxes, also 432. 

Bible, in chest on frame, 147. 

Bigelow, Francis Hill, 359, 363, 365, 373, 609, 
611, 613, 614 bottom right, 616, 617 right, 
618, 620 left, 62r left, 624, 625, 638, 643, 
646, 647. 

Bilbao, 500, 513. 


793 


704, 


Birch, in turnings, 54, 512, 525. 

Birds, painted, see chests, painted, and chests 
of drawers, painted. 

Blair, Mrs. J. Insley, collection of, 126, 127, 
143 middle, 148, 166, 203, 229, 275, 287, 288, 
313, 323, 521 bottom, 523, 529, 535, 538, 584 
bottom left, 593, 641, 642, 643 top, 652, 653 
all, 658, 673, 684 all. 

Blaney, Dwight, collection of, 68 top, 98, 1o1, 
149, 172, 198, 224, 295, 306, 375, 304, 305 
bottom, 417 bottom, 572, 578. 

Blind Fasteners, 360, 383, see shutter. 

Blocks, thin, applied, 65, 176. 

Boards, on trestle as table, 454, 473 ff. 

Board Construction, see chests and settles. 

Bobbin Reel, 542, 545. 

Boiler, Double, 677, 694 right. 

Bolles Collection, see Metropolitan Museum, 
454. 

Bootjack, cut on end of cabinet pieces, 44, 55, 
64, 67, 79, 80, 81, 83, 85, 86, 214, 215. 

Bosses, same as turtle backs, eggs or split balls 
or drops. See drops. Common on chests and 
court cupboards. 

Boston, 136, 185, 190, 278, 300. 

Boston Museum of Fine Arts, 216, 247, 320. 

Bowls, 256, 270, 571, 578, 604, 606, 640, 650. 

Bowls, burl, 339 bottom, 348, 508, 503, 513, 536, 
540, 571, 578, 604, 606, 640, 650. Shape of 
cocked hat, 503, 513. 

Box, 17, 19, 26. 

Box carved on three sides, 150 middle, 172. 

Box Lock, 656, 650, 675. 

Boxes, curly maple, 152. 

Boxes on Frames, oak, 149 all, 150 first and 
second, 155 bottom. 

Boxes, pictures, 139-157; text, 160-176. 

Boxes, pine, 150 bottom, 151 top, and bottom, 
152 bottom, 156. 

Boxes, walnut, 157 all. 

Bracket, carved, 677, 693 bottom left. 

Brackets, on frame, 56, 65, 80, 81, 85, 86, 
128, 153, 174, 471, 475 bottom, 477, 470, 
525, 526 top. 

Brainard, David, 547. 

Brainard, Morgan B., 674, 687. 

Branford, Conn., 105, 435. 

Brass Box Lock, see box lock. 

Brasses, English best, 78. 

Brewster, Elder William, 200, 282, 287, 288, 
293. 

Brewster, Patience, 200. 

Bridgman, James, 87. 

Brinton, Francis D., 307 bottom, 317, 318, 338 
right, 339 top, 340 bottom left, 347, 
348. 

Bristol, Conn., 112, 382. 

Broilers, 321, 322, 330, 333, 342- 

Brooklyn Public Museum, 213, 241. 

Brown, Captain, house, 400, 421. 

Brown, G. Winthrop, collection, 58, 76, 77, 80 
all, 98, 106, 111, 140 bottom, 165, 334 top 
right, 342, 345, 351, 370, 381, 391 left, 4o5 
right, 500, 508, 558, 560, 585 right, 594. 

Brown, Mrs. Hulings Cowperthwaite, 69, ror, 
201, 224. 

Bryant, Mrs. G. C., collection of, 204, 214 
bottom right, 230, 515 top, 525, 526. 

Buek, G. H., 13, 31. 

Bulkeley, Peter, First Minister of Concord, 282, 
293, 400, 

Bureau, 179. 


INDEX 


Burl, see bowls, burl. Also a term for burl 
veneer. See veneer, highboys, etc. 

Burnham, Ralph, 350 bottom, 357. 

Butternut, 31, 32, I10. 

Buttonhole Cutter, 375, 392. 


Cc 


Cabinet, a cupboard of drawers with doors, 
209, 235, 245, 263. 

Cabinet Makers, mostly unknown in 17th C., 
36, 495, 502. 

Cabinets, of desks, important, 179. 

Cabinet Work, 19, 22, 25, 35, 341. 
struction. 

Cable Molding. See molding, cable. 

Cabriole Leg, later than our period but see 
340 bottom right, 348. 

Campbell, James N. H., 27, 39, 72, 192, 106, 
218, 223, 381, 405 left. 

Candle Box, tin, 593. 

Candle Chair, see chair, candle. 

Candle Molds, 589. 

Candle Stands, 535, 536, 539, 580-596, 679, 
699 bottom right. 

Candle Stands, iron, 539, 555, 559, 579, 581, 
643, 652, 654, 658, 673, 676, 678, 679, 684, 
693 top left, 698 top, 6990. 

Candles, 453, 470 bottom left. 

Candlesticks, see lighting fixtures. 

Cane Chairs, see chairs, Flemish. 

Canopy, 211, see also cornice. 

Cap, the top board of the cornice or the entire 
cornice, 211, 426, 435. 

Cape Cod, 200, 514. 

Capen House, 254, 250. 

Carcase, technical name for body of a joined 
piece of furniture, 71. 

Carpenter, same as joiner, 19. 

Carver Chairs, see chairs, Carver. 

Carver, Governor, 282, 293. 

Carving, 17, 18. 

Carving, cable, 13, 15 bottom, 32, 174. . 

Carving, diagonal cut, 71, 90, 117. 

Carving, diamond, 16, 23, 33, 57. 

Carving, flute or arch, 23 top, 36, 40 top, 79 
top, 85, 112, 140, 145, 150, 165, 171, 172, 173, 
194. 

Carving, foliage scroll, 13, 14, 31, 38, 60, 72. 
Also many boxes and court cupboards. 

Carving, Friesian, 145 bottom, 151 middle, 155 
left, 175. 

Carving, gouge corners, 64, 79, 80, 81, 98, 138, 
139, 140, 143, 145, 146, 150, 154, 155 bottom, 
156 bottom, 242, 426, 432, 445, 447, 453. 

Carving, Guilloche, 15, 16, 24, 130 bottom, 143, 
166, 484, 485. 

Carving, heart motive, see heart motive. 

Carving, Imbricated, 70, 149 bottom, 150 
middle, 172. 

Carving, incomplete, 35. 

Carving, indentions, see 16 bottom, 36. 

Carving, intaglio, 221, 230, 253. 

Carving, in the round, 14, 32, 140 top, 143 
middle, 144 top, 151 top, 207, 230. 

Carving, kinds of, 18. 

Carving, lattice work, 152 bottom, 175. 

Carving, laureling, 16 top. 

Carving, lunette, 14, 16, 23, 24, 35, 140, 150, 
I51, 160, 165, 172. 

Carving, Norman tooth, 33, 60, 235 similar to 
carving, serrated, which see. 


See con- 


INDEX 


Carving, notch, see carving, serrated. 

Carving, on drawers, 127, 153. 

Carving, palmated, 14, 24, 32, 42. 

Carving, pencil and pearl, 15 bottom, 34, 35, 
37, 38, 60, 71, 106, 205, 248. 

Carving, pond lily, 140, 165. 

Carving, raised, 140 top, 151 top, 165, 172. 

Carving, rosettes, 70, 72. 

Carving, runic, 35. 

Carving, scale, same as carving, 
which see. 

Carving, scratch, 13, 14, 37 bottom on legs, 
39 ends of top stile, 71, 160, on end 174, 426. 

Carving, serrated, 34, 37, 38, 54, 60, 72, 80, 
106, 145 bottom, 151, 171, 172, 177, 178, 181, 
200, 205, 206, 224, 235. 

Carving, spade, 23, 28. 

Carving, spiral, 360, 368, 371, 444, 457, ram’s 
horn arm, which also see. 

Carving, stippled, 151 bottom, 172, 175, 484. 

Carving, sunburst, 67, 221, 253. 

Carving, sunflower, 27, 28, 29, 42, 50, 53, 120. 

Carving, tulip, 23, 24, 27, 28, 31, 43 top, 44 
top, 45 top, 46, 49, 50, 51, 143 middle, 144 top, 
140 middle and bottom, 142 middle, 172, 
TS2, DOs, tod, 212, 

Carving, twisted posts and rails possibly Eng- 
lish, 354, 357- 

Cedar, 98, 194, 245, 263. 

Chair, seat of authority, 282, Cathedral, The 
Chair Place. 

Chair Tables, pictures, 464-470; text, 450-453; 
oak, 453, 467; walnut, 486, 489. 

Chair, writing arm, 387, 410. 

Chairs, pictures, 266-416; text, 278-387. 

Chairs, arm, double brace type, 344 bottom 
right, 351. 

Chairs, arm, ram’s horn, 343, 345, 351, 366, 378. 

Chairs, arms cut away beneath, Pennsylvania 
style, 337, 347, etc. 

Chairs, arms turned as 275, 279, 280; flat as 
289, 295, 308 bottom left, 344 top right; 
slanted, as 313, 314 right, etc.; rolled, as 332 


imbricated, 


top. 

Chairs, baby high, 280, 293, 309, 318, 326, 336, 
366, 375, 378 left, 396, 416. 

Chairs, baby low, 286, 300, 303, 316 bottom, 
319 top left, 324, 326 bottom right, 334 
bottom, 374 bottom, 381, 382, 404, 405 bot- 
tom, 406 bottom left, 408, 414, 428 bottom 
right. 

Chairs, banister back, 308 top right, 309, 314 
left, 332 bottom right, 374, 376, 378 left, 379 
left, 381, 383, 384, 389, 390, 391, 395, 397 
right, 398 bottom right, 405 left, 406 bottom 
right, 409 left; banisters, molded, 309 right, 
318, 364; banisters, reeded, 309, 323, 363; 
banisters, reversed, 370, 385, 390, 395 right. 

Chairs, Brewster, 275, 276, 280, 283, 286, 287, 
288, 203, 204, 296 top left, 300, 306, 319, 
324, 639, 640, 650, 657. d 

Chairs, Brewster transition, 279, 319 top right. 

Chairs, cabriole, 340 bottom right. 

Chair, candle, 370, 392 left. 

Chairs, cane, see chairs, Flemish. 

Chairs, carved, 266, 278, 281, 322 right, 330. 

Chairs, Carver, 284, 285, 288, 289, 291, 292 top, 
294, 296, 298 right, 299, 300, 301, 302, 303, 
304, 305, 306, 307, 311, 312, 317, 639, 640, 
650, 651. 

Chairs, Carver, baby, see chairs, baby, also, 303, 
3x7: 


705 


Chairs, Carver side, 301, 302, 307, 312, 317. 

Chairs, child’s, see chairs, baby. 

Chairs, corner, 319 bottom, 326 bottom right, 
367, 381, 405. 

Chair, courting, 319, 329. 

Chairs, Cromwellian, 321, 329, 330. 

Chair, desk, 328, 341. 

Chairs, Dutch, 382, 400. 

Chair, elbow, same as arm chair, 282. 

Chairs, five back, 331 left, 332 top left, 333 
left, 337, 339 left, 340, left top and bottom. 

Chairs, Flemish cane, 343, 345, 346, 348, 349, 
350, 351, 353, 355, 356, 361, 362, 363, 365, 
372, 375, 377, 379 right, 389, 392 right. 

Chairs, heart and crown, 327. 

Chairs, high desk, 328 top right. 

Chairs, lady, 287, 290, 305, 307, 312, 317. 

Chairs, leather back, 322, 325, 330, 335. 

Chairs, mushroom, 310, 313, 314, 315, 316, 
319 top, 320, 323, 375, 395 left. 

Chairs, name, 332 bottom right, 342. 

Chairs, New England slat-back, 306, 318, 331, 
332 top, 333, 341, 342, 344, 369, 370, 380, 
385, 392 left, 397, 398 top, 410. 

Chairs, oak, 294, see also chairs, wainscot. 

Chairs, Pennsylvania arched slat, 337, 338, 339, 
340, 404 bottom right. 

Chairs, Pilgrim slat-back, 286 right, 290, 292 
bottom, 295, 297, 298 left, 299, 300, 306, 308 
left top and bottom, 311, 318, 319 left, 324. 

Chairs, raked, 291, 305, 311. 

Chairs, reverse Carver, 334 bottom left. 

Chairs, rocking, 328 top left, 334 top, 336; 
origin of, 420, 597, 598, 605. 

Chairs, roller, 332 bottom left, 342. 

Chair, round about, see chair corner. 

Chairs, seats of, 288, 305; cannot be proved 
original, 305. 

Chairs, seats, leather, 329. 

Chairs, seats rush, usual in Pilgrim chairs, and 
later, as 284, 328, etc. 

Chairs, seats of silk, brocade, petit point, etc., 
320. 

Chairs, seats upholstered, 321, 322, 325, 335, 
388. 

Chairs, seats wooden, 266, 267, 268, 273, 275, 
292 right, 296 top left, 304, 306, 317. 

Chairs, serpentine slat, 334, 342, 404 top right. 

Chairs, six back, 338, 339 right, 340 bottom 
right. 

Chairs, Spanish, 432, 444, 457. 

Chairs, spinning, 376, 398 bottom left. 

Chairs, transition, 279, 293, 308 bottom right, 
318, 319, 324. 

Chairs, wainscot, 266, 267, 268, 273, 278, 281, 
282, 

Chairs, Windsor, 294, 348, 387, 388, 402, 443, 
496, 514. 

Chairs, Windsor Pennsylvania, 394, 416. 

Chairs, wing, 334 right, 381, 405 bottom, 443, 
453, 456, 470 top. 

Chaise Longue, see day bed. 

Chandelier, 585, 586, 594, 612, 624, 642, 652, 
674, 686. 

Chandler, Joseph, 320. a“ 

Charles II, Flemish or turned chairs with carved 
elements, see chairs, Flemish, also 325, 335, 
etc. 

Cherry, 26, 235, 278, 491, 495, 529, 560, 561. 

Cheshire, 175. 

Chestnut, 26. 

Chest, drawer ends, see drawer ends. 


706 


Chest) Ends, 13, 21, 32, 36, 66, 71, 72; 79, OI, 
97, 98, 105. 

Chest of Drawers, 19, 20, 25. 

Chest of Drawers, two-part, 89, 96, 117, 123. 

Chest of Drawer Ends, 90, 93, 117, 118, 123. 

Chest, handles, 26. 

Chest Legs, 21. 

Chest Lids, 14, 18, 21, 22, 25 ff. 

Chest Lid Panels, 22, 32, 35, 40 bottom. 

Chest, pictures, 13-86, 678; text, 13-111, 679. 

Chests, American and English, 19. 

Chests, arched panel, 13, 33, 34, 59. 

Chests, architectural, 13, 18. 

Chests, board, 18, 30 ff. 

Chests, carving on three sides, 16, 40 bottom, 55 
bottom, 67 bottom, 81, 111. 

Chests, corner blocks, 27, 28, 29, 33, 34, 37, 38. 

Chests, dower, 17, 106, 148. 

Chests, drawers end-to-end, 
drawers. 

Chest, ecclesiastical, 17. 

Chests, five panel, 16, 21. 

Chests, four panel, 15, 16, 21, 23, 24, 28, 70, 
81. 

Chests, Hadley, 42 (no moldings), 43 top, 44 
top, 45 top, 46, 47, 49, 50, 51, 77; 78, 83, 
84, 88, 129. 

Chests, heart motive, 30 ff. 

Chests, many panels, 39, 52, 55, 85, bottom, 93, 
95 bottom. 

Chests, miniature, 26, 40 bottom, 43, 45, 56, 
67, 73 top, 75 bottom, 76 bottom, 83, 86, 92. 
Same as Boxes, 160. 

Chests, no drawer, 19, 25, ff. 

Chests of Drawers, pictures, 89-104; text, 117- 
129. 

Chests of Drawers, painted, 102, 103, 104, 129. 

Chests-on-Frames, pictures, 126, 138; text, 147, 
159. 

Chests-on-Frames, carving on drawers, 127, 153. 

Chests-on-Frames, detachable, 138, 147, 154. 

Chests-on-Frames, painted, 131, 137. 

Chests-on-Frames, shelf, 148. 

Chests, on shoes, 82, 112. 

Chests, one drawer, 19, 25, 43, 44, 45 ff. 

Chests, origin, 17, 18. 

Chests, painted, 30, 38 bottom, 54, 72, 73, 74, 
78, 76, 79 bottom, tree decoration, 75 urn 
decoration, 76, 83, rose with crown, thistle 
and fleur-de-lis 73, birds painted, 79, 102, 103. 

Chests, panels, circular, 111. 

Chests, pine, 30, 43 bottom, 44 bottom, 45 
bottom, s5 bottom, 56 bottom, 67 bottom, 
40 top, 74, 76 bottom, 79 bottom, 80 bottom, 
81, 82, 85 bottom, 86, 679, 700 bottom. 

Chests, proportions, 18. 

Chests, scalloped skirt or frame, 14, 56, 86 both. 

Chests, sea, 30, 31, 54. 

Chests, six-board, see six-board chests. 

Chests, size, 17. 

Chests, spade carving, 23, 28. 

Chests, styles, 18. 

Chests, sunflower, 27 bottom, 28 top, 29 top. 

Chests, three-drawer, 51. 

Chests, three panel, 13, 14, 15, 21, 23, 27, 28, 
20, 30, 33, 34, 37, 38, 43, 44, 45, 46, 40, 
50, 51, 52, 56, 58, 62, 63, 64, 67, 68, 69, 73. 

Chests, two drawer, 19, 25, 46, 49, 50. 

Chests, walnut, 679, 700 top. 

Chests, whitewood, 598, 605. 

China Cupboard, a term used for fine built-in 
cupboards, 253. 


see end-to-end 


INDEX 


Chippendale, 136, 252, 270, 624, 638. 

Choate, Miss Mabel, collection of, 122, 142. 

Choppers, 641, 652. 

Churn, 577, 581. 

Churchill, Capt. Charles, 42, 112, 341, 369, 576, 
508, 577. 

Clarke, Hermann F.,, collection of, 128, 153. 

Cleats, see Battens. 

Clinton, Conn., 211, 217. 

Clinton, Mass., 211. 

Clocks, reserved for separate volume, see 251 
bottom right. 

Clocks, see also announcement opposite page 7, 
see wag-on-the-wall. 

Clocks, Spanish, 472, 476. 

Coburn, J. Milton, M.D., Estate of, 43 bottom, 
78, 96, 123, 334, top left, 342, 376, 398 top 
left, 407, 427 bottom, 428 bottom. 

Cocked hat box, 250, 264. 

Coffee Grinder, 589. 

Coffin Maker, see Winslow, Kenelm. 

Collecting, methods of, 679-680. 

Collier, Mary, 200. 

Conastoga Wagon, 282. 

Concord, Mass., 282, 582; Antiquarian Society, 
400, 421. 

Concord, N. H., 212. 

Connecticut, chests, 20, 26 ff. 

Connecticut, 65, 83, 87, 91, 105, 130, 135, 165, 
212, 248, 382, 413, 425, 466, 477, 478, 483, 488, 
490, 491, 495, 496, 508, 522 ff, 666, 667. 

Connecticut Craftsmen, 54. 

Connecticut Historical Society, 42, 176, 466. 

Connecticut River, 83, 87, 190. 

Connecticut, state owned pieces, 76 top, 105. 

Connecticut, southern central, source of white- 
wood painted furniture, 73 top, 74, 76, 79 
bottom, 103, 108. Also of torus molded cup- 
boards, 241. 

Connecticut Sunflower Chests and Cupboards 
see chests sunflower and sunflower cupboards. 

Constable, 282. 

Constantinople, 269. 

Construction, 17, 18, 19, 20, 21, 22, 25, 26, 35, 
36, 41, 42, 72, 77, 84, 98, 135, 136, 147, 
148, 160, 165, 179, 193, 223, 247, 248, 260, 
270, 281, 282, 288, 293, 204, 320, 341, 348, 
359, 365, 366, 399, 432, 508, 638, 645. 

Contents, 9. 

Cookerow, Mrs. M. B., 375, 392 bottom. 

Copper, 327, 336, 370, 386. 

Corbels, brackets, modillions or consoles as on 
cornice 197, see brackets and modillions. 

Cornice, consisting, in furniture, principally of 
the frieze as on court cupboards, 177, 214, 
also, 247. 

Corrections, 7. 

Couches, see day beds. 

Court Cupboards, see cupboards; see court cup- 
boards, splayed. 

Courting Chair, see chair, courting. 

Coventry, Conn., 582. 

Cradles, 258, 271, 414, 420, 425, 426, 431, 437 
bottom, 439 bottom, 440, 445, 446, 447. 

Cradles, Pennsylvania walnut, 439 bottom. 

Cradle, stenciled, 432, 446. 

Cradle, suspended, 432, 446. 

Cradle, wicker, 426. 


. Cranes, 663, 665. 


Cribs, rare or unknown in Pilgrim Century, 
420. 
Cromwellian, see chairs, Cromwellian. 


INDEX 


Cross Stretcher, 113, 121, 126, 141, 148, 167, 
168, 185, 388, 411 top, 450, 467, 468, 472, 
476, 478, 481, 483, 494, 502, 518 bottom right, 
529, 579, 581, see Saint Andrew’s Cross. 

Crewel Work, see beds, crewel work. 

Cruciform Panels, on various chests and court 
cupboards, as 197. 

Culver, Lydia, 155 right, 175, 176. 

Cupboard Cloth, 224. 

Cupboard, court bulbous, 207, 230. 

Cupboard, court, Virginia, 207, 230, 634 bottom 
right, 650. 

Cupboard Cushions, 224. 

Cupboard Decoration, 204, 229, 255. 

Cupboard, livery, 259. 

Cupboard, press. A court cupboard closed be- 
low as 191. 

Cupboards, china, see china cupboard. 

Cupboards, court, pictures 173-215; text I90- 
242. Also 13, 19, 21, 65, 78, 91, 97, 147. 

Cupboards, court, importance of, 190. Use of, 
224. 

Cupboards, court, pine, 202, whitewood, 215, 
229. 

Cupboards, court, Prince-Howes, 177, 199. 

Cupboards, demidome, 216, 219, 246, 247, 248, 
249, 251 left, 263, 264, 269. 

Cupboards, dresser, see dresser. 

Cupboards, hanging, confused with suspended 
cupboards, 233, 247, 250, 257, 258, 259, 271. 
Cupboards, pewter, term sometimes applied to 

narrow pine cupboards. 

Cupboards, pine, pictures 216-261, text, 247- 
272, 

Cupboards, scrolled cornice, on all fine dressers, 
232, 234, 237, 243, 251 right, 259, 260, 261. 

Cupboards, small ball feet, 567, 576. 

Cupboards, splayed or octagon, 182, 187, 188, 
195, 196, 197, 201, 203, 204, 208, 213, 214 top 
right and bottom left. 

Cupboards, suspended, see hanging. 

Cupboards, walnut, 239, 247, 255, 256, 258, 260, 
270. 

Curling Iron, 574, 578. 

Curtains, bed, see beds. 

Curtis Inn, 598, 508. 

Cushions, a necessity, 311, 414. 

Cushman Family, 426. 

Cypress, 31. fn 


Dais, 454, 484, 485. 

Daisy, see Rosette. 

Dartmouth Historical Society, 444. 

Dates, inscribed, 25, 30, top and bottom, 37 
top till, 52 bottom, 65, 70 bottom, 79 top, 
oI, 106, 155 left, 155 bottom, 168, small box, 
176, 186, 187, 195, 212, 218, 485, 489, 668, 
682, ff. 

Davidson, Elizabeth, 323. 

Davidson, James, 108, 135, 369, 386. 

Day Bed, pictures, 414-428; text, 399-402. 

Day Bed, eight legs better than six, 4or. 

Day Bed, Flemish, 399, 418, 421 top, 428 top. 

Day Bed, head hinged, 400, 423 top, 424 bot- 
tom, 427 top. 

Day Bed, Pennsylvania, 399, 402. 

da Vinci, Leonardo, 454. 

Decline in Style, beginning in 17th C., 71. 

Decorations, see chests, painted; and chests of 
drawers, painted; and chests on frames, 
painted; also 255, 270. 


797 


Decorations, applied turnings, 23, and fre- 
quently to, 214. i 
Decoration of Walls, supplied by high furniture, 
as highboys, see also 358. 

Decorations, stamped ornaments, 25, 65, 71. 

Dedham, 117. 

Deerfield, 84, 88. 

Dennis, 200, 205. 

Dentils, 40 bottom, 60, 90 bottom left, 118, 
182, 183, 184, 196, 198, 210, 212, 223, 236. 

de Silva, Paul A., 266, 278. 

Desk, pictures, 160, 170, also 202 bottom; text, 
179-189. 

Desk Boxes, 139 bottom, 144 bottom, 152 top, 
155 top right, 157 all. 

Desk Chair, see chair, desk. 

Desks on Frames, improper term for chests on 
frames, 147. 

Desks, pine, 161, 163, 164 bottom right, 168. 

Desks, walnut, 162, 164 top, bottom left, 167, 
170. 

Diagonal Cut Carving, see carving, diagonal cut. 

Diamond, see carving, diamond, and panel, 
diamond. 

Disbrowe, Nick., 84. 

Distaff with Flax, 340 right, 348. 

Door Bar, 485, 489. 

Dorothy Q. House, 246, 263. 

Dow, George Francis, 231 bottom, 254. 

Douglaston, L. I., 471. 

Dover, New Hampshire, Sor. 

Dovetail, not earliest method, 25, 453, 465, 482, 
483. 

Doylestown, Pennsylvania, 507, 589 bottom, 


594. 

Drawer, below bottom shelf of cupboard, 195, 
223. 

Drawer Construction, 25, 465, 473. 

Drawer for Tobacco in Pipe Boxes, 168, and 
elsewhere. 

Drawer Lip, see drawer lap or overlap. 

Drawer, overlapping, 90 bottom right, 118, 136, 
163, 171, 180, 486, 489. 

Drawer Runs or Grooves, used on all pieces 
before 1700, 65 ff. 

Drawer, sliding, in chest, 65. 

Drawers, always one under chests-on-frames, 
148 ff., 154. 

Drawers, flush, in oak chests and 17th C. pieces. 
See also 136. 

Drawers, see end-to-end drawers. 

Drawers, pine end, 66. 

Drawers, side-by-side or abutting, see end-to- 
end drawers. 

Dresser, 225, 226, 227, 228, 231, 234, 238, 
243, 252, 253, 254, 259, 260, 261, 260, 272. 

Dressing Table, same as lowboy, which see. 

Drip Pan, 677, 695. 

Drops, see decorations, applied. 

Dunlop, J. W., 211. 

Durham, Conn., 218, 236, 650. 

Dutch Furniture, 26, 382, 401, 409, 422 bottom, 
423 bottom, 443. 

Duxbury, 200, 444, 462, 554, 555. 

Dwight, Winthrop Edwards, collection of, 182, 
211. 2 

E 


Eastham, 200. 

East Haddam, Conn., 674. 
Easthampton, Long Island, 31. 
Eastman, George P., 50, 87. 


708 


Eastman, Lucius Root, Senior, 87. 

Eastman, Miss S. B., 329 bottom, 330. 

Eaton, Governor, 193. 

Easton, Pa., 336. 

East Windsor Hill, Conn., 477. 

Eggs, see bosses. 

Elliot, General, 615. 

Embroidery Frames and Racks, 249, 264, 536, 
539, 584 bottom right, 593. 

Empire Style, 135. 

End-to-end Drawers, 13, 31, 34, 37, 38, 60, 173, 
177, 178, 181, 199, 206. 

End Panels, see chest ends. 

England, arms of, 129. 

England, English, furniture, 8, 26, 32, 36, or. 

Entablature, 272. 

Erving, H. W., collection of, 15, 24, 28, 29 bot- 
tom, 33, 42, 54, 50, 71, 77, 97, 98, Tor, 102, 
139, 140, 143 bottom, 146 middle, 150 top and 
middle, 151 top, 160, 165, 166, 169 bottom, 
172, 186, 262, 267, 298 bottom, 312, 331, 
342, 343, 348, 351, 515 bottom, 525, 535, 538 
bottom left, 562 top, 569 bottom, 575, 577, 
579, 581, 612, 624, 663 top right, 665, 668, 
681. 

Erving, William G., M.D., estate of, 28, 53, 402, 
423 bottom, 471, 475 bottom, 521, 529. 

Essex Institute, 208, 235, 432, 659. 

Escritoire, 170. 

Explanatory, 7. 

F 

Facade, a true, 31. 

Facings, see oak. 

Faelten, Reinholt, estate of Mrs., 564, 576. 

Fairbanks House, 231, 254. 

Fairfield County, 211. 

Fanning Family, 175. 

Farmington, 112. 

Farr, Willoughby, 466, 474. 

Feet, scroll, 551. 

Feet, see stile legs and ball feet; wear or loss 
of, 335. 

Spanish, 353 right, 357, 360, 366, 368, 
371, 378 right, 379 left, 383, 389, 390, 497, 
502, 507, 547, 549; on day beds, 4or, 402, 
422 bottom, 424 top; On table, 528, 531. 

Finials, see turnings. 

Fire-carrier, 504, 514. 

Firemaking Implements, see sparkers. 

Fireplace Utensils, see andirons, forks, shovels, 
spoons, broilers, skimmers, trivets, tongs, etc. 
Also 376, 397 bottom. 

Fireplaces, 249, 265 bottom right, 274, 277, 287, 
316, 488, 490. 

Flanders, 18. 

Flapjack Turner, 301, 312, 358, 370, 362, 386, 


397. 

‘Flat Iron Holder, 673, 683. 

Flax Breaker, 426, 440 bottom. 

Flemish, see chairs, Flemish; also day beds, 
Flemish, 

Fleur-de-lis, see chests, painted, fleur-de-lis; 
also chests of drawers, painted. 

Floor Candle Stands, see candle stands iron. 

Flute, see carving. 

Foliations or Foliated Carving, see carving. 

Foot Scraper, 673, 683 bottom right. 

Foot stove, carved, 557, 559. 

Ford, Henry, 541, 607, 611. 

Forks, 301, 312, 346, 350, 352, 357, 370, 386, 
673, 683. 

Form, long, not now known in America, 388. 


INDEX 


Form, short, another term for joint stool 
which see. 

Fort William Henry, 536. 

Fortune, The Ship, 200. 

Frame, see scalloped. 

Framingham, 194. 

France, 18. 

Freeport, Maine, 453, 469. 

French, Hollis, collection of, 145 bottom, 171, 
596 left, 600. 

French Influence, 179. 

Friesian Carving, see carving, Friesian. 

Froe, 640, 650. 

Fruit Wood, a term for apple or pear, 335, 352. 

Fuller, Dr. Samuel, cradle of, 426, 431, 445. 

Furness, George B., 471, 475 top. 

Furniture, American, see title page, see also 
construction. 

Furniture, American distinguished from English, 
20. 

Furniture, backs, best largely paneled, 21. 

Furniture, continental, 566. 

Furniture, identification of by description, 20. 

Furniture, joined or joint, 19, 341, 404, 502. 

Furniture, judging authenticity, 20, 21. 

Furniture, labels, 20. 

Furniture, lacquered, 381, 403, 558 bottom, 560. 

Furniture, makers of unknown, 20. 

Furniture, mortise and tenon, 19. 

Furniture, repairs, 21. 

Furniture, 17th C., 20, not crude, 190, 193. 


G 


Gallery, on cradles, 426, 440 top, 445 top. 

Gaston, Frederick K., 591 bottom right, 599. 

Gay, Martin, 402, 424. 

German Types, 26. Pennsylvania Dutch is 
properly German, 124. 

Gibbons, Grinling, 59. 

Gift Furniture, generally initialed, see chests, 
dower, and boxes. 

Glass, late and not shown, 180. 

Glue, 41. 

Goffering Iron, 534, 535. 

Gold and Silver of Windsor Castle, 623. 

Goodwin, William B., 14, 32. 

Goose Chest, 76. 

Goose Neck Andirons, 170 bottom left, 225, 254. 

Goose Neck Handles, 333 bottom, 342. 

Goose Yoke, 621, 647. 

Gothic, 18, 59, 111, 123, 155 right, 175, 432, 
453, 460. 

Gouge Carving, see carving, gouge. 

Goulding, L. P., collection of, 333 bottom right, 
342, 660, 663 top left, 673, 683 top right. 

Grant Family, 477, 478, 480. 

Grappling Iron, 641 bottom, 652. 

Greek Capitals, 212. 

Greek Crosses, 10r. 

Greenfield, Mass., 530. 

Griddle, 331 bottom right, 342, 668, 681. 

Griswold, Clarissa, 4or. 

Grooved Runs or Ends, see drawer. 

Groton, Connecticut, 175. 

Gudgeons, 688, 691, bottom right. 

Guilford, 105, 141, 172, 264, 273, 278, 281, 658, 
675. 

H 


Haddam, Conn., 547. 
Hadley Box, 143 middle, 144 top, 166. 
Hadley, Chest, see chests, Hadley, also one 


INDEX 


drawer, 43, 44, 45; two-drawer, 46, 49, 50; 
three-drawer, 51. Pictures, 43, 51. 

Hadley, South, 211. 

Hale, Deacon Richard, 490. 

Hale Mansion, 488, 490, 582, 583. 

Halford, J. H., 554, 555, 654 top right, 658. 

Hancock House, Lexington, 659. 

Handles, 19, 31, 42, 252, 270, 482, 483, 486, 
489, 491, 495, 503, 513, 632, 650, 678, 697 
bottom. See also shovel and tongs. 

Handles, chased, 113, 119, 121, 122, 169. 

Handles, Drop, 43 bottom, 66, 89, 99, 117, 124, 


129. 

Handles, highboy, see highboy handles. 

Handles, rope. 

Handles, willow, 109, 136. 

Hanging Cupboards, see cupboards, hanging. 

Hanson, 554. 

Hardware, 8, and 651 to end of book, and 
scattered through volume. See wrought iron, 
lighting fixtures, fireplaces, sconces, candle- 
sticks, hinges, latches, trivets, toasters, and- 
irons, pipe tongs, etc., etc. 

Harpsichord, 546, 547. 

Hartford, probable home of Sunflower Chests 
and Cupboards, see 166, 176, 190, 211, 488, 
490, 491, 405, 513. 

Hartland, Vermont, 206. 

Harvard, Mass., 330. 

Hasps, 381, 403, 485, 489, 679, 694 bottom. 

Hatchel, 426. 

Hatfield, 84, 87. 

Haverhill, 441, 448 top, 457, 470. 

Hawes, Rev. Dr., 646. 

Hawthorne, Nathaniel, 359. 

Hazen Garrison House, Haverhill, 441, 448 top, 
457, 470. 

Heart and Crown Motive, 309, 323, 360, 384. 

Heart Motive, carving, 30 bottom, 43 top, 45 
top, 46, 51, 78, 79, 84, 106, 168 bottom, 185, 
212, 250, 269, 309, 323, 327, 334 bottom 
right, 336, 347. 

Heart Motive, hardware, 304, 317, 327, 336, 
346 bottom, 350, 352, 357, 370, 386, 641, 660, 
662, 664, 665, 667, 671, 668, 682, 673, 674, 
678, 683 bottom left, 686 top, 697 bottom. 

Hearth, the, 420. 

Hedge, Isaac L., 200. 

Henderson, Mark M., collection of, 359, 366, 367, 
380, 614, 635, 675, 690 top right. 

Hepplewhite, 436. 

Herricks, Josiah, 77. 

Hessian Andirons, 443, 456 bottom, 678, 696 
bottom. 

Hickory, 359, 488, 490, 496. 

Highboy, all flat top in our period. 

Highboy Handles, 66. 

Highboys, pictures, 107-125; text, 130, 142. 

Highboys, applewood, 125. 

Highboys, bonnet top, 135. 

Highboys, butternut, 110, 136. 

Highboys, cross stretcher, 113, 121. 

Highboys, five-leg, 107, 109, 120, 122, 135. 

Highboys, Flemish, 107, 130. 

Highboys, four-leg, 135. 

Highboys, herringbone walnut, 108, 114, 115, 
116, 136. 

Highboys, oak, 107, 130. 

Highboys, painted, 108, 135. 

Highboys, six-leg, 108, 110, 114, 115, 116, IIQ, 
125, 135. 

Highboys, sycamore, 125. 


709 


Hillsboro County, N. H., 272. 

Hinges, buck horn, 258 left, 271, 644, 647. 
Hinges, butterfly, 160, 163, 165, 180, 185, 215, 
241, 251, 270, 503, 507, 513, 577; 676, 692. 
Hinges, chest, 19, 644, 647, 667, 672, 673, 676, 

685 bottom, 690 bottom left, 691 left. 

Hinges, cleat, 21. Also easily seen on many 
chests and boxes, 91, 137, 154. 

Hinges, clinch, see staple. 

Hinges, cotterpin, see staple. 

Hinges, cockscomb, 674, 688. 

Hinges, cupboard, 678, 699. 

Hinges, dowel, 25, 218, 400. 

Hinges, fish tail, 675, 688. 

Hinges, forked, 683, 685 bottom, 675, 689. 

Hinges, H., 179, 248, 261, 272, 675, 676, 688, 
692, 697 bottom, 778. 

Hinges, H. L., 674, 676, 687 ff. 

Hinges, heart motives, 674, 686. 

Hinges, mortise, 259, 272. 

Hinges, rat-tail, 243, 260, 678, 699. 

Hinges, scrolled, 263. 

Hinges, stag horn, 678, 697 bottom. 

Hinges, staple, 21, 160. 

Hinges, strap, 22. 

Hinges, strap and butterfly, 675, 688. 

Hinges, T., 22. 

Hinges, table, 497, 5¢7. 

Hinges, tulip, 541, 543, 644. 

Hinges, wooden, 314, 324. 

Hingham, 288, 402, 407, 428 top. 

Historical Society, Ipswich, Mass., 603, 606. 

Historical Society, New Haven, Conn., 229. 

Hogarth, 623. 

Holcombe, Mrs. John Marshall, 366, 370, 379 
right, 390, 477, 480. 

Holland, 18, 84, 129, 175, 204. 

Hollanders, see also Dutch, 26, 54. 

“ Home, Sweet Home,” 31. 

Hominy, see mortar and pestle. 

Hoosick Falls, N. Y., 375. 

Hosmer, Charles, 491, 495. 

Hour Glasses, see sand glasses. 

Howe, Mrs. Dewitt, 375, 395 bottom, 408, 429 
top, 453, 479, 574, 577 top, 578, 581, 673, 683 
bottom right. 

Howes, Joshua C., 205. 

Howes, Polly, 205. 

Howes, Prence, 205. 

Howes, Thomas, 200, 205. 

Hunt, George W., 611, 623. 

Hutch, 254. 

Hutch Table, 450, 453, 482, 483, 601 bottom 
left, 605. 

a 


Imbricated, see carving, imbricated. 

Indian, American, 20, 547, 593. 

Individuality in Furniture, 53, 71, 300. 

Initials, 17, 29, 30, 36, 43, 44 top, 45 top, 49, 
50, 51, 54, 55, 56, 59, 78, 84, 87, 92, 138, 
130, 143 bottom, 144, 146, 149, 153, 155 left, 
156, bottom, 159, 160, 165, 166, 168 small box, 
I7I, 172, 175, 176, 186, 195, 202, 223, 220, 
283, 204, 296 top left, 311, 485, 489, 608, 616, 
624, 652, 677, 693 bottom right, 700 bottom. 

Inlay, 173, 176, 194, 214 bottom left, 241, 530, 
548, 553. 

Intermediate Arm Stretchers, 
intermediate arm, 

Ipswich, Mass., 357, 606. 

Iron, cast, 7; door bar, 485, 489. 


see stretchers, 


710 


Iron, see hardware, see wrought. 

Tron Works House, 251 bottom right, 260, 287, 
445 bottom, 470, 584, 593. 

Irving, Dr. Lyon P., 667, 672 left. 

Italy, 18, 496, 548. 

Ivanhoe, 454. 

Ives, George F., estate of, 30 bottom, 59, 74, 
105, 121, 141, 215 bottom, 232, 242, 259, 250 
bottom left, 269, 279, 293, 304, 309 left, 317, 
318, 326, 336, 381, 400, 404, 413, 414, 421 bot- 
tom, 434 top, 438 top, 443, 444, 449, 450, 
456, 464, 467, 520, 541, 544, 574, 578, 580 
right, 582, 585 bottom, 586 bottom, 594, 580, 
591 bottom right, 592 bottom, 599, 600, 603 
bottom, 606, 678, 697 top, 698 bottom. 


J 


Jack, roasting or smoke, 590 bottom right, 599, 
655 bottom left, 650. 

Jaffrey House, 247, 248. 

Jamestown, 230. 

Japanese Design, 647. 

Jenny, 340 top right, 348, 601 bottom right, 
605, 622, 648. 

Joined or Joint, see furniture. 

Joiner, Io. 

Joint Stool, see stools. 

Jones, E. Alfred, 623. 


K 
Kas, 255, 270. 
Kelly, Anthony T., 162 bottom, 180, 643 bot- 
tom, 652, 653, 674, 686 bottom. 
Kettle Lifters, 376, 397 (ath and 6th). 
Kettle on Tripod, 298, 312. 
Killingworth, Conn., gor. 
Kirckman, Jacobus, 547. 
Kittery, 264. 
Kneading-trough Table, 
trough. 
Knickerbocker, 270, 481, 483, 677. 
Knobs, see handles, also 632 bottom, 650. 
Knobs on Chairs, 296, 306, 332 bottom right, 
342. 
Koopman’s, formerly owned by, 64 bottom, 95 
top, 123. 
L 


Lacquered Furniture, see furniture, lacquered, 
381, 403. 

Ladles, 327, 336, 673, 683. 

Lady Chairs, same as side chair, see chairs, 
side, and chairs, lady. 

Lamps, fluid, 589. 

Lamps, swivel, 382, 409, 592 bottom, 610, 623. 

Lancaster Library, 211. 

Lanterns, see also lighting fixtures, 320, 320, 
376, 396 bottom, 453, 468, 488, 490, 579, 590 
bottom, 597 left, 599, 605, 610, 623, 655, 650. 

Latch Bars, 660, 661 bottom. 

Latches, ball and spear, 664, 665 ff. 

Latches, iron, 541, 543, 622, 648, 656, 660, 661- 
664, 6690-672, 674, 677, 686, 687, 605 left. 

Latches, thistle motive, 665, 669 left. 

Latches, wood, 410, 433 bottom. 

Laths, name of frame for bed canopy, 441, 444. 

Lattice Work, see carving. 

Leete, Governor, 273, 281, 287. 

Leete, Mrs. E. B., 141. 

Leg Cabriole, 340 bottom right, 348. 

Length of Legs, see stile legs and ball feet. 

Leverett, Knight, 624. 

Lexington, 659. 


see table, kneading 


INDEX 


Leyden, 278. 

Lids, see chest lids. 

Lighting Fixtures, 162, 303, 320, 329, 382, 393, 
396, 409, 413, 429, 535, 538; Sconces, 414, 
438, 592 bottom, 597, 598 bottom left, 605, 
610, 623, 643, 652, 673, 683 all, 678, 698 
bottom. See candles, candlesticks, lamps, etc. 

Lincoln, Mrs. F. H., collection of, 276, 288. 

Linen Chest, applied to chest on frame, 147. 

Littlefield, C. C., 252, 270. 

Locks, 25, 26, 71, 88 (wooden bar), 111, 146 
middle, 160, 171, 666, 669. 

Locks, wooden, 675, 689 right. 

Lockwood, Luke Vincent, 84, 87, 130, 194, 235, 
253, 306, 401, 495, 541. 

Long, Harry, collection of, 51, 67 top, 88, 103 
bottom, 129, 164 top, 185, 466, 474 bottom. 

Long, Mrs. W. B., collection of, 310, 323. 

Long Island, 31, 287. 

Looking Glasses, 65; pictures, 608-621; text, 
616-624. 

Looking Glasses, crests missing, 635. 

Looking Glasses, painted wooden top, 619 
right, 645. 

Loom, 604, 606. 

Lothrop Farm, 200. 

Love Seats, 413. 

Lowboy, 130, 141; pictures, 555-561; text, 554— 
560. 

Low Countries, 305, see also Netherlands and 
Holland. 

Lunettes, see carving, lunettes. 

Lyme, N. H., 166. 

Lyme, Old, 166. 

Lynn, 31. 

Lyon, Irving Whitall, M.D., 19, 53, 60, 236, 
323, 466. 

Lyons, France, 278. 


M 


Madison, Conn., 236, 251, 271. 

Maine, 442. 

Manchester, N. H., 375. 

Manheim, Penna., 652. 

Maple, curly, 121, 152, 265 left, 277, 564, 576, 
673, 682 bottom left. 

Maple Furniture, 131, 132, 134, 137, 155 top 
right, 161, 163, 164 bottom right, 280, 283, 
284, 285, 286, 290, 294, 299, 300, 305, 309, 
3II, 322, 325, 330, 335, 360, 388, 431, 432, 
460, 465, 487, 488, 490, 494, 496, 502, 513, 
558, 560, 562 ff, most butterfly tables, 593, 
646. 

Maple, used in the earliest times. 
or water maple, 54. 

Marblehead Historical Society, 26. 

Marsh House, 251 left, 269, 431. 

Martyr Spy, 490. 

Massachusetts, 65. 

Mather, Cotton, 280, 293, 299, 311. 

Mayflower, 20, 294, 426, 625. 

McKearin, George S., 375, 376, 395 right, 397 


Soft, swamp, 


right. 
Medallion, 221, 253. 
Medway, 465. 


Metropolitan Museum, 45, 57, 83, 92, 174, 178, 
199, 206, 214 top, 230, 241, 244 bottom, 262, 
263, 277, 278, 390, 418, 460, 478, 481, 482, 
483, 501, 506 bottom, 514, 517, 526, 577, 659. 

Middle Ages, 454. 

Middleboro, Mass., 3209. 

Milford, Conn., 323, 369. 


INDEX 


Milford, Mass., 525. 

Miner, Dr. Mark L., 84, 530, 532, 534- 

Miner’s Light, 408, 429, see also lighting fixtures. 

Miniature, see chests. 

Mireau, Mr. Francis, 498, 507, 589 bottom, 594, 
641, 652. 

Mitre, Mitred, drawer fronts, 78, also on all 
Hadley chests, and on court cupboards, 188, 
IgI, 482, 483. 

Modillions, same (on furniture) as brackets, or 
corbels, 13, 31, 177, 205. 

Molding, or molds, 35. 

Molding, arch or astragal, single, 44, 56 bottom, 
70 top, 76 bottom, 80 bottom, 83, 92, 94, 95, 
99, 107, 108, 109, I10, I14, 115, 116, 119, 
123, 125, 136, 559. 

Molding, arch, double, 43, 76 bottom, 78, 120, 
121, 122, 136, 558 ff. 

Molding, ball turned, 96, 123. 

panei base, 13, 23, 27, 28, 29, 30, 34, 37) 
30, 39- 

Molding, bead, 72, 91, 105. 

Molding, bolection, 94, 118, 123. 

Molding, chair seat edges, 349, 352. 

Molding, channel, 23, 33, 36, 38 bottom, 39, 40, 
52, 55, 63, 68, 75, 160, also on court cup- 
boards as 196, 197, 223, 478. 

Molding, channel, painted black, 54. 

Molding, cupid bow, same as double ogee. 

Molding cut up to form dentils, 212. 

Molding, for matching, 63, 64, 81. 

Molding, large convex, for earliest looking 
glasses, 614, 638 ff. 

Molding, lining, 136. 

Molding, oak usual if heavy on chests, chests of 
drawers and cupboards, 37, 38, 57, 60, 69, 
177, 178, 181, 191. 

Molding, returned around end, 23, 27, 28, 29, 
30, 39, 43 bottom, 58, 61, 67, 69, 70, 73, 76, 
Le 82, 85, 89, 90, 94, 95, 96, 99, 100, 103, 
106. 

Molding, stone, 521, 529, also common on table 
frames. 

Molding, stop or return on front, 13, 34, 37; 
38, 57, 69 bottom, 71, 90, 93, 97, 118, 137, 
181, 208, 214. 

Molding, thumb nail, 105, 159, 393, 412, 450. 

Molding torus, 119, 141, 188, 217, 213, 236. 

Molding, worked from a solid, 35. 

Molding, zigzag, banded, 81, 111. 

Moravia, Moravian, 18, 102, 124, 129. 

Morgantown, W. Va., 535. 

Mortar and Pestle, 498, 507, 508; burl, 604, 
606, 640, 650, 675, 688 left. 

Munson, Mrs. Edgar, 667, 672 bottom. 

Museum, see Albany Historical Society, Boston 
Fine Arts, Concord, Dartmouth, Metropoli- 


tan, Pennsylvania, Taunton, _ Wadsworth 
Atheneum, Worcester Antiquarian Society, 
York Jail. 


Musical Instruments, 546, 547, 548. 

Myers, L. G., 255, 270, 308 top right, 318, 319 
bottom right, 329, 401, 423, 518 bottom, 529, 
608, 616, 621 right, 647. 


N 


Nail Heads, 55 top, 126, 148, 210, 236. 

Nails, very early use, 25, 41, 66, 154, 160, 465, 
477, 525. 

Name in full, carved, 46. 

Nash, Chauncey C., collection of, 76, 106, 109, 
135, 169, 186, 307 top, 317, 326 top left, 336, 


FER 


382, 303, 406 bottom left, 411 bottom, 394, 
413, 416, 433, 446 bottom, 492, 496, 517 bot- 
tom, 526, 535, 537, bottom left, 541, 544 top, 
560, 561, 564 bottom right, 576, 618 right, 
646. 

Nauset, 200. 

Natick, South, 194. 

Netherlands, Spanish, 298, 647. 

New Bedford, 300. 

Newburyport, 388. 

Newcastle, N. H., 254. 

Newell, The Rev. Samuel, 382. 

New England Slat-backs, see 
England. 

Newfields, N. H.,.260. 

New Hampshire, 83, 91, 136, 148, 230, 242, 501, 
513, 566. 

New Haven, 102, 193, 495, 624. 

Newington, Conn., 42, 112, 342, 369, 568, 576, 
577: 

New Jersey, 26, 87, 269, 382, 413, 414, 450, 466, 
481, 483, 486, 489. 

New York, 176, 414, 496. 

Noggin, 640, 650. 

Norman, see carving. 

Norristown, Pa., 554. 

North Andover, Mass., 218. 

North Pembroke, 606. 

North Shore, 190, 413, 466, 659, 674. 

Norton, Malcolm A., 30, 34 all, 54, 60, 65, 429 
bottom. 

Norwalk, Conn., 359. 

Norwich, Norwichtown, 175, 211. 

Nursing Bottle, 589, 594. 

Nutting, Wallace, collection, 13 bottom right, 
14 bottom, 23 top, 24 bottom, 29 top, 33 bot- 
tom, 37 top, 38 bottom, 44 top, 49, 52, 55 
bottom, 56 top, 63 top, 67 bottom, 69 bot- 
tom, 70 top, 75 all, 81 all, 85 top, go all, 94 
top, 99 top, 100 top, 103 all, 104, 107, 110, 
15, 133, 138, 139 middle and bottom, 140 
middle, 143 top, 144 top, 145 top, 149 bot- 
tom, 150 bottom, 152 all, 155 top right and 
bottom, 157 all, 158, 163, 167 all, 170 bot- 
tom, 173, 177, 191, 207, 215 top, 222, 233, 
245 all, 249 bottom, 250 top and bottom 
right, 251 top right, 256 top, 257 right top 
and bottom, 258 all, except cradle, 261, 
265, all but fireplace, 267, 283, 284, 285, 
286 all, 289, 290, 292 all, 296 all, 298 top, 
299 top, 301 top, 302 (spoons), 303 all, 304 
bottom right, 308 bottom, 314 all, 315, 316 
top left, 319 top, 320 top, 321 all, 322 all, 325, 
327 bottom, 328 top and bottom right, 331 
bottom right, 332 top, 333 bottom left, 338 
left, 339 bottom, 340 top right, 344 all, 346 
bottom, 356, 361, 362 all, 368 all, 374 bot- 
tom, 378 right, 383 all, 386 bottom, 392 top, 
and set at bottom, 396 all, 403 bottom, 404 
bottom, 406 top and bottom left, 409 bottom, 
air top, 412 bottom, 413 all, 422 bottom, 430, 
433 top, 439 bottom, 440 bottom, 445 top, 
447 top, 448 bottom, 451 bottom, 452, 458 
all, 467, 468 top, 473 bottom, 476 middle, 
479, 480 bottom, 481 top, 482 bottom, 485 all, 
486 all, 487 top, 492 bottom, 404 top, 497 all, 
499 all, 503 top, 504 bottom, 505 top, 509 
top, 510 bottom, 511 bottom, 516 all, 522 
all, 525 bottom left, 526 bottom, 529 top and 
bottom right, 531 top and bottom left, 532 
bottom, 540 bottom, 543 all, 546 top, 549 
top, 551, 556 top, 557 bottom, 558 bottom, 
561 bottom, 568 top, 571 all, 577 bottom, 


chairs, New 


712 


579 bottom right, 580 left, 586 top, 590 all, 
591 top left, bottom left, 592 top, 595 top, 
598 all, 601 bottom right, 602 all, 604 bottom, 
607 bottom right, 612 bottom, 614 bottom 
left, 617 left, 619 left, 620 bottom, 622 all, 
625-637, nearly all, 639 top, 640 all, 644 top, 
646 top left and bottom, 647 top and bot- 
tom right, 648 bottom, 649 all, 650 all, 651 
bottom, 652 all, 653 all, 654 all, 655 all, 656 
top right, 657 top left and bottom, 658 all, 
659 top and bottom left, 663 all, 664 top, 
666 top, 667 all, 668 bottom, 669 all, 670 
all, 671 all, 672 all, 673 all, 674 top, 675 
bottom, 676 top, 677 top. Other objects 
owned are not illustrated. 


O 


Oak, 13, 18, 360, 388, 484, 485, 488, 490, 513. 

Oak, blacked through smoke, 19. 

Oak, creosoted, ro. 

Oak Facings, 65, 71. 

Oak, figured or quartered, 25, 69, 71, 98, IOI, 
431, 472, 477, 479. 

Oak Pins, 19, 25. 

Oak, red, 22, 66. 

.Oak, white, 19, 22, 66. 

Old Farmers’ Almanac, 507. 

Omissions, 7. 

Onion Feet, flattened variant of ball feet, which 
see. 

Ornament, see decorations, applied. 

Osbornes, 31. 

Oven, tin, 603, 606. 


P 


Painted Furniture, 26; see chests, painted; 
chests of drawers, painted. 

Paint, red, common on cabinet work, see 
decorations, painted, 78, 199, 211, 508. 

Panel Lids or Tops, see chest lid panels. 

Panel Style, 259, 260. 

Panels, arched, 13 top, 33 top, 34 top, 55 top, 
60, 91, 158, 174, 178, 179, 187, 195, 198, 199, 
201, 206, 208, 213, 214, 217, 224. 

Panels, blocked, 34, 37, 38, 57, 61, 85 top, 
93, 94, 97, I00, 118, also on court cup- 
boards as drawers of cupboard, 202, 258 
left, 271. 

Panels, cross or X, 27. 

Panels, curved, 58. 

Panels, diamond, 16, 23, 33, 37, 71, 87, 126, 
148, 177, 178, 181. 

Panels, end, see end panels and chest ends, 
also chest of drawer ends. 

Panels, false, 431. 

Panels, flat, same as sunken, 36. 

Panels, geometrical, 34 bottom, 57, 61, 62, 60, 
90, 92, 93, 94, 95, 96, 99, TOO. 

Panels, octagon, or chamfered corner, 29. 

Panels, painted, usual on blocks inserted in 
chest panels. 

Panels, pine, common in oak cabinet pieces, 71. 

Panels, raised, 36, 97, 105, 129, 132, 154, 432, 
447. 

Panels, see cruciform. Cross panel is the term 
general for a diagonal cross or St. Andrew’s. 

Panels, sunk, usual in 17th C., see chest pic- 
tures, also 78. 

Panels, very small, 52 bottom, 128, 139, 153, 
165, 187, 195, 217, 223. 


INDEX 


Parlor, parlour, ancient dining room, 200, 224, 
489. 

Parmenter, court cupboard, 35, 97, 173, 103, 
194. 

Parmenter, Joshua, 194. 

Patera, Patere, 221, 253. 

Patterson, Mrs. F. G., collection of, ¥37,. 154; 
472, 476 bottom. 

Pauly, Rudolph P., 320 bottom, 329, 414, 437 
top, 488, 490. 

Pear Wood, see woods for carving, 59, 335. 

Peck, Miss Mary Miles Lewis, 85, IIa, 383, 
406 right. 

Peel, a long shovel, 676, 692 bottom left. 

Pencil and Pearl, see carving. 

Pennsylvania, see chests, cupboards, chairs, etc. 
Also, 26, 124, 141, 179, 248, 252, 258, 259, 
260, 269, 270, 271, 282, 312, 317, 326, 335, 
336, 342, 347, 348, 358, 381, 402, 407, 414, 425, 
432, 446 bottom, 486, 487, 489, 490, 491, 494, 
496, 502, 507, 520, 530, 550, 581, 594, 651, 


665, 666, 667, 668, 669, 673, 674, 675, 
676, 685 top. 
Pennsylvania Lamps, 382, 393, 409, 413 


bottom. 

Pennsylvania Museum, 44 bottom, 79, 83, 106, 
153. 

Penn, William, 358. 

Perry, Abner, 323. 

Petit Point, 612, 624. 

Pewter, 7, 135, 220, 221, 222, 227, 281, Lae 
(Shown only incidentally, not discussed.) 

Pheasants, 129, see also birds, painted. 

Phoenix, 645. 

Pierce Family, 202 bottom, 2209. 

Pierson, Rector, chair, 268, 281. 

Pilgrim, see Pilgrim Fathers, Pilgrim Century. 

Pilgrim Century, title and numerously, as 148, 
180, 204, 306. 

Pilgrim Chests, wrong designation, 148. 

Pilgrim Cupboards, 20. 

Pilgrim Fathers, 19, 31, 32, 278, 282, 426. 

Pilgrim Hall, Plymouth, 26, 72, 287, 426, 431, 
625. 

Pillars, court cupboard, 173, 174, 177, 178, 181, 
182, 183, 184, 187, 188, I9I, 195, 196, 197, 
198, 201, 202, 203, 204, 207, 208, 213, 214, 
215, see also turnings, court cupboard 
pillars. 

Pine, 26, 31, 487, 490, 497, 507. 

Pine Carved, 30, bottom, 44 bottom, 55 bottom, 
67 bottom, 81 top, 82 top. 

Pine Cupboard, see cupboard. 

Pine, hard or yellow, 18, 66, 91, 111, 143 
bottom, 166, 193, 205, 230, 245 bottom, 263, 
478, 481 ff, 591 bottom left, sgo. 

Pine in Oak Chests, 19, 22, 25, 71. See panels, 
pine. 

Pine, soft or white, 18, 261, 272 ff. 

Pine Tops of Tables, 460. 

Pins, draw bore, 19, 460. 

Pins, New, 21. 

Pipe Boxes, 168, 186, 262, 265, 277, 585 right, 
594, 641, 652. 

Pipe Tongs, 262, 360, 368, 376, 392, 304, 307 
(3rd and last), 416, 536, 539, 641, 652, 673, 
677, 683, 693 top left, 695 bottom left. 

Pipes, Church Warden, 186, 262 bottom. 

Plain Dealing, estate of Governor Prince, 200. 

Plant Family Cradle, 435, 447 bottom. 

Plate Forks, 397. 

Plymouth Colony, 60, 65, 72, 106, 148, 190, 
200, 287, 426, 431. 


INDEX 


Plymouth Cupboards and Chests, see carved 
serrated, also see cupboards court. 

Plymouth, features of cabinet pieces, 60. 

Plymouth Type, see also serrated. 

Pond Lily Pattern, 128, 165. 

Poplar, 32, 130. 

Portland, Maine, 520. 

Portsmouth, N. H., 35, 247, 599, 638, 659. 

Potato Boiler, 331 bottom left, 342. 

Pot Hooks, 333 bottom left, 342, 677, 695. 

Pot Lifter, 697 bottom right. 

Potomac, 230. 

Pottery not treated, but see 535, 538. 

Pottstown, Penna., 375. 

Prence, see Prince. 

Press Cupboard, a court cupboard closed below 
as 192. 

Prince, Governor, 190, 218, 224. 

Prince, Mary Howes, 200. 

Prince-Howes Plymouth Cupboard, 177, 199, 
200, see also cupboards, court. 

Prouty Collection, 541. 

Providence, R. I., 317. 

Provincetown Harbor, 426. 

Pudding Stick, 444, 458 bottom. 

Puritans, 190, 282, 320. 


Q 


Quartered Oak, see oak, figured or quartered. 

Queen Anne, 141, 348, 381, 394, 401, 402, 403, 
416, 623, 629, 649. 

Queen Elizabeth, period when smoking became 
fashionable, 186, 496. 

Quill Work Sconces, 611, 613, 623, 624. 

Quincy Homestead, 246, 263. 


R 


Rabbet, 66, 135, 160, 288, 330, 465, 645. 

Rack, see spoon. 

Rail, imposed on chair backs as 349. Later 
than mortised. See also 352, 353, 357- 

Rail, under bottom drawer often omitted, 106, 
Bont 3: 

Reed, Brooks, 61, 83, 93, 97, 118, 394, 417 top. 

Reed, Honorable John, 623. 

Reed, Ruth, 623. 

Reels, 602, 603, table, 606. 

Relief, Low or Bas, see carving in the round. 

Repairs, see restorations. 

Restorations, 21. 

Revere, Paul, 329, 590 bottom left, 599. 

Revision, complete, 7. 

Revolutionary Period, 248. 

Revolutionary War, 490. 

Rhode Island, 260. 

Rhode Island School of Design, collection of, 
131, 153, 161, 180, 419, 425, 439 top, 440 top, 
563 bottom, 565, 575, 576. 

Richardson Tavern, 465. 

Richmond, Va., 492, 496. 

Rive, Riven, Riving, 22, 66, 72, 97, 118. 

River, First Road, 87. 

Robbins Brothers, 117. 

Robinson, John, 278. 

Robinson, Thomas, 278, 287, 382, 406, 526. 

Rocking Chairs, see chairs rocking. 

Rogers, Mrs., Hingham, 407, 428 top. 

Rolling Pin, 444, 458 bottom. 

Rollins, Sherwood, 221, 253. 

Romanesque, 18. 

Rooms, Bed Room, 598, 605. 


713 


Rope, see handles. 

Rope Carving, see cable carving. 

Root, Martin, 87. 

Rose, see chests, painted, Rose. 

Rosettes, see carving, aster and sunflower. Also 
39, 42, 44 bottom, 50, 55, 59, 139, 143, I5I, 
164, 166, 172, 182, 211, 219, 237, 244 bottom, 
248, 249 bottom, 260, 263, 484, 485. 

Rowlandson, The Rev. Jos., 211. 

Royce, Lucy Atwater, 251 bottom left, 271. 

Rugs, braided, 251, 269, 443; of corn husks, 
584, 593. 

Rugs, hooked, 449, 462. 

Rug, rag, 443, 456. 

Rumford, Count, 20. 

Rungs, see stretchers. 

Rush, Anna, 560. 

Rush Lights (possibly none American), 643, 
657. 

Rush, see chairs, seats; rush bottoms on Penn- 
sylvania day bed, 402, 424 bottom, 427 top, 


413. 
Rutland, Mass., 218. 
S 


Sack, I., 170, 191, 472, 476, 528, 531. 

Sailor Carving, 54. 

St. Andrews Cross, panel, 219, 244 bottom, 
248, 257 bottom left, 263. 

Saint Stephens Church, East Haddam, 674. 

Salamander Slats, 380. 

Salem, 190, 359, 432. 

Salisbury, Mass., 484, 485. 

Saltonstall House, 603, 606. 

Sampson, Mrs. Mary M.., collection of, 55 top, 


gl. 

Sand Glasses, 168, 186, 537. 

Sargent, E. W., 304 bottom left, 317. 

Saugus, 251 bottom right, 260, 287, 470, 593. 

Saw Horse Tables, same as X stretcher. 

Saw Tooth, see carving, serrated; see also 
Trammels. 

Saybrook, Old, Conn., 347. 

Scalloped Cut Skirt or Frame, 14, 56, 92, 112, 
201, 207, 224, 235, 486, 487 bottom, 489, 
525 bottom left, 530, 531, 541, 542, 543, 
844, 545, 546, 552, 553, 568 bottom right, 
577, 679, 700 bottom. 

Scituate, 65. 

Sconces, 215, 242, 414, 438, 592 bottom, 600, 
611, 613, 623, 624, 646, 675, 678, 690 left, 
697 top right. 

Sconces, glass, 642, 652, 673, 684 bottom. 

Sconces, pewter, 642, 652, 673, 682 bottom 
right, 673, 684 bottom. 

Sconces, tin, 653, 658. 

Scratch Carving, see carving, scratch. 

Scrimshaw Work, 54. 

Scroll, Flemish. Common on Flemish chairs. 
Unilateral, 350, 352. Otherwise called Eng- 
lish Scroll. See Scalloped. 

Seat, pung, 408. 

Secretary, 158, 179. 

Seats, see chairs, seats of. 

Serpentine, see chairs, serpentine. 

Serrated Carving, see carving, serrated. Same 
as sawtooth. 

Settee, 413, 433 top. 

Settle Bed, 408, 430. 

Settles, paneled, 438, 439. 

Settles, built in, 438 bottom. 

Settles, pictures, 408, 428-439. 


714 


Settles, pine, pictures: 428 bottom, 429, 430, 
434 bottom, 438, 439 top. 

Seymour, George Dudley, collection of, 15, 16, 
23, 35, 40, 42, 67, 73 bottom, 77 all, 82, 85, 
86, 89, 95 bottom, 105, 111, 112, 117, 123, 
146 bottom, 149, 151 all, 155, 156 top, 172, 
175, 176, 197, 223, 291, 305, 399, 323, 331, 
341, 369, 382, 384, 385, 409 right, 466, 474, 
488, 490, 564 bottom left, 569, 576, 577, 582, 
583 top. 

Shakers, 465. 

Sheathing, on cabinet furniture, 63 bottom, 64 
bottom, 81, 98, 111, 478, 480. 

Shell, see demidome. 

Shellac, 431. 

Shelves Hanging, 250, 260, 442. 

Sheraton, 98, 253, 436, 460, 507. 

Sherborn, Mass., 287. 

Ship, see sea chests. 

Shoe, auxiliary base or knob at bottom of 
furniture pieces, 432, 444, 453, 469. 

Shovels, handles of, 499, 508. 

Shovels, iron, 301, 312, 397. 

Shovels, wooden, 577, 581, 640, 650. 

Shreve, Crump & Low Co., 259. 

Shutter Fasteners, 369, 383, 478, 480, 675, 689 
bottom, 

Shuttle Pattern, same as lunettes and reversed 
lunettes. 

Shuya Wood, 616. 

Six Back Chairs, see chairs six back. 

Six-board Chests, 18, 30, 31, 64, 67, 76, 80, 
81, 82, 83, 98, 106. 

Skewer, 607 bottom, 615. 

Skewer Holder, 641, 652, 667, 673, 681, 683 
bottom left. 

Skimmers, 376, 397, 677, 695 bottom left. 

Small chests on frames, see chests on frames. 

Smith, chetwood, 314 bottom, 324, 615, 621, 
647, 675. 

Snow Shoes, 577, 581. 

Snuffers, 303 bottom. 

Sound, Long Island, 190. 

South Coventry, Conn., 488, 490. 

South Easton, 264. 

Southern Furniture, little oak, 26, 510 bottom, 
579; walnut, 141. 

Spalding, Philip L., 46, 84, 187, 212, 223. 

Spandrels, scratch, bird carving, 139 top, 
flower 150 top, fan 150 bottom, 151 top, 
battle ax, 246, 484, 485. 

Spanish Cedar, moldings, 64, 98 (quite usual). 

Spanish Feet, see feet, Spanish. 

Sparhawk House, Kittery, 249, 264. 

Sparkers, 169, 610, 623. 

Spindles, flat, 276, 288. 

Spindles, see turnings. 

Spinet, 547, 549. 

Spinning Attic, 251 bottom left, 269. 

Spinning Jenny, see jenny. 

Spinning Wheel, wool, 601, 605. 

Splat, vertical flat piece in chair back, 350. 

Spoon Rack, 251 bottom right, 270, 281, 585 
left, 5094, 598 bottom right, 605, 677, 695 
top right. 

eee 256, 270, 302, 317, 386, 444, 456, 673, 

3. 

Sprays, painted on chests and chests of drawers, 
also chests on frames, 153, 156 top, 176. 

Spreads, coverlets, counterpanes, 442, 449. 

Spring, John C., 297, 311. 

Spruce, 31, 66. 

Squab, a stool, 394, 417 top. 


INDEX 


Stamped, see decorations, stamped. 

Standish, Miles, “ Brewster,’ 276, 288, 293. 

Stands, 518 bottom, 522 bottom, 527 bottom, 
533, 539, 540, 545, 556 bottom, 578 bottom, 
579, 581, 603 bottom, 606; trestle, 596 
bottom left, 600; see candle stands. 

Staniford, Daniel, Boston, 552, 553. 

Stanton Collection, Clinton, Conn., 217. 

Star, applied decoration, 126, 148, 233, 2509. 

Starfish Motive, in carving and painting, 81 
COP, PLAT UT SE, ees 

Starr, Rev. Edward C., 
bottom left, 241. 

State House, Old, Boston, 278. 

Stauffer, Charles R., 676. 

Stearns, Henry S., collection, 27, 376, 398 top 
right. 

Stenciled Furniture, 432, 446 bottom. 

Stevens, Patrick, 117. 

Stile Legs, general, see chest pictures. 
of, 36, 71, 90, 97, 105. 

Stiles, J. H., 375, 395 left, 494, 502. 

Still, 675, 688 left. 

Stokes, J. Stodgell, 251 top left, 270, 340 
bottom right, 348, 590 right, 599, 678, 696 
bottom. 

Stone House, Guilford, 269, 273, 28r. 

Stone Top, see tables, slate. 

Stool Table, 511 bottom 520. 

Stools, 288, 316 bottom, 324, 328, 336, 341, 
365, 374 bottom right, 406, 410, 411, 412, 
413, 417, 466, 474 bottom, 

Stools, joint, 282, 341, 382, 406, 454. 

Stoves, charcoal, 307, 317, 318, 668, 681 
bottom, see foot stoves. 

Stratham, N. H., 560. 

Stretcher Medial, name for middle stretcher 
taking the place of two side stretchers, as on 
170 top, 486, 489. 

Stretchers, carved, see chairs, Flemish; also 
322 right, 335. 

Stretchers, high, on tables, a 17th century type, 
rare as 525 top, 543, 544 ff. 

Stretchers, intermediate arm, 295, 306, 300, 323, 
327, 344 top right, 360, 384, 385, 370, 390. 
Stretchers, molded, 127, 131, 161, 163, 214, 

top, 477. 

Stretchers, turned, 126, 128, 132, 133, 134, 137, 
482, 483, 504, 514. 

Strickland & Law, 675, 688 bottom. 

Stump Frame, 608, 616. 

Sudbury, South, 194, 478, 481, 611, 623, 659. 

Sugar Cutter, 314, 324. 

Sunburst, see carving, sunburst; 
Painted, 75 bottom, 105. 

Sunflower Cupboards, 182, 183, 184, see court 
cupboards. 

Sunflower, see carving, sunflower, also aster. 

Sutton, 615. 

Sweden, 531. 

Sweet, Stanley A., 70 bottom, tor, 354, 357, 
360, 371, 372. 

Switzerland, 548. 

Sycamore, 142. 


collection of, 214 


Length 


Sunburst, 


T 
Tabernacle, 17. 
Tabernacle Table, 147, 154. 
Table Chests of Drawers 

bottom right, 118. 

Table Tops, age of, 502. 
Table Tops, how secured, 460. 
Table Tops, original, 460, 479. 


or Cabinets, 90 


INDEX 


Table Tops, removable, 459, 477, 479, 481 top, 
486, 480. 

Tables, pictures, 473-579; text, 454-546; 
leaves of, 459, 466, 474 ff, 482, 483, 490, 


491. 

Tables, bulbous legs, 472, 479. 

Tables, butterfly, pictures, 562-574; text, 566- 
578; vertical leg, 570 bottom, 573, 577, 578; 
trestle, 571, 572, 578. 


Tables, carved, 459, 478, 481 bottom, 484, 
485. 
Tables, communion, 472, 476, 478, 481, 484, 


485, 489, 495. 

Tables, court cupboard style, 466, 475. 

Tables, crane bracket (butterfly), 573, 578. 

Tables, cross stretcher, 481 bottom, 483. 

Tables, dining, 477, 478, 479, 480, 515 top. 
Refectory and large gate legs, which see. 

Tables, draw, 466. 

Tables, flat gate, 507, 500. 

Tables, gate leg, 459, 471, 475, 488, 490, 491, 
492, 493, 494, 495, 496, 497, 498, 499, 501, 
502, 503, 504, 505, 507, 508, 511, 513, 514. 

Tables, gate leg folding, see tuck-away, also 
506 bottom, 509 top, 510 bottom. 

Tables, gate leg, four gates, 491 bottom, 492, 


501. 
Tables, gate leg, Spanish feet, 497 top. 
Tables, gate leg split gate, 500 bottom, 510 


top. 

Tables, gate leg trestle, 506 top, 509 top, 510 
bottom. 

Tables, gate leg triangular, 511 top, 519, see 
tables, three legged. 

Tables, high stretcher, see stretcher, high. 

Tables, kitchen, 472, 476 bottom, 486, 489. 

Tables, kneading-trough, 478, 481. 

Tables, library, 486, 487, 489, 490. 

Tables, long, 472, 475 bottom, 480, etc., see 
refectory. 

Tables, oak, 472, 479. 

Tables, Pennsylvania, 487, 490. 

Tables, refectory, 472, 475 bottom, 476, 477, 
480, 482, 483. 

Tables, slate top, pictures, 550, 552; text, 548, 


553- 

Tables, Spanish foot, 528, 531. 

Tables, standing, 459. 

Tables, swivel top, 568, 577. 

Tables, tavern, 460, 482, 483; pictures 512-546; 
text, 525-542, 562 bottom, 568 bottom right, 
575, 577; drop leaf, 561, 565, 578, 58r. 

Tables, three legged, 535, 537, 538; 
bottom left, 577, 591 bottom, 599. 

Tables, trestle, 441, 454, 459, 460, 466, 473. 

Tables, trestle tavern, 531, 532, 533, 534; See 
tables, butterfly trestle, with leaves, 577, 581. 

Tables, tuck-away, 504, 505, 513, 514. 

Tables, Windsor, 488, 490. 

Tables with great bulbs, not American, 459. 

Tallboy, see highboy. 

Tankard, 532, 534. 

Tape Looms, 265 bottom left, 267, 277, 281. 

Taunton Museum, 264. 

Tavern Tables, see tables. 

Tea Tables, see tables, slat top. 

Tester, see bed. 

Thacher, Peter, 652. 

Thermometer, 641, 652. 

Thistle and Crown, painting, 73, 102, 103, 124. 

Throne, a chair, 282. 

Tills, 25, 35, 65, 72, 160, 172. 

Tin, see lanterns. 


568, 


715 


Tinder Boxes, see sparkers. — 
Toasters, 307, 314, 317, 322 right, 324, 333, 335, 


342. 

Toddy Iron, 655 top middle, 659. 

Tongs, handles of, 499, 508. 

Tongs, large, 397, see pipe tongs. 

Topsfield, 254. 

Torch Holder, 655 top, 659. 

Torus, see molding torus. 

Tracy, Howard C., 206. 

Tracy, John, 206. 

Tracy, Stephen, 206. 

Traditions, unreliable, 20. 

Trammels, bird, 302, 375, 395, 676, 693 top 
right. 

Trammels, chain, 668, 682. 

Trammels, fireplace, 668, 682, 677, 695 bottom 
right. 

Trammels, lighting, 653 bottom, 658, 673, 684, 
2nd top. 

Trammels, wooden, 338, 347. 

Transition Chairs, 279, 293, see chairs, transi- 
tion. 

Trap, 641, 652. 

Traver, Miss C. M., 393, 412 top left. 

Trenchers, 465, 509, 519, 532, 534, 673, 682 
bottom left. See woodenware. 

Trestle Board, see tables. 

Triglyphs, 34, 37 bottom, 38 top, 60, 64, 95, 
98, 123, 173, 194, 198, 224, 236. 

Trivets, 298 bottom, 307, 312, 322 bottom, 335, 
376, 397, 641, 652, 677, 694 left. 

Trumpet, 485, 489. 

Trundle Beds, see beds. 

Trunk, a chest, 17. 

Tuck-away Tables, see tables, tuck-away, 504, 
505. 

Tufts, Brewster, 275, 287, 288, 299. 

Tufts, John, 287. 

Tulip Motive, Carved, 14, 23, 24, 27, 28, 29, 30, 
31, 43, and all Hadley chests, 182, and all 
sunflower chests, 212, 207, 230. 

Tulip Motive, iron, 541, 543, 660, 661. 
Tulip Motive, painted, 30, 74, 76 top, 79 
bottom, 79, 103, 104, 106, 108, 129, 135. 
Tulip, white, same as whitewood which see. 

Turnings, pictures, 622-640; text, 648-051. 

Turnings, ball, 126, 133, 134, 148, 154, 302, 
317, 327, 529. 

Turnings, bed, 622 left, 647. 

Turnings, Brewster rails, 635, 650. 

Turnings, bulbous, 487, 490. 

Turnings, Carver, rail, 635, 650. 

Turnings, chair, 632, 633, 636, 649, 650. 

Turnings, chest, 630, 649. 

Turnings, court cupboard pillars, 126, 148; 
like court cupboard, 625, 630, 634 bottom, 
648, 649, 650. 

Turnings, done on green wood, 300. 

Turnings, earliest, 281, 293, 431. 

Turnings, finials, earliest on Brewster and 
Carver chairs which see. Later, on Pilgrim 
slat back, mushroom chairs, Flemish and 
turned cane chairs, which see. On high- 
boys and lowboys which see. Also 632, 639, 
649, 650. 

Turnings, flat, 276, 308 bottom, 318. 

Turnings, incised, 130, 165. 

Turnings, inverted cup or bowl, 136. 

Turnings, knob, 632, 650. 

Turnings, miscellaneous, 637, 650. 

Turnings, ornamental, 305. 

Turnings, Pennsylvania, 631, 649 


716 


Turnings, Pilgrim, 632, 649. 
Turnings, sausage, 316 left, 324, 332 top left, 


342, 344 top right, bottom left, 351, 385, 
396. 

Turnings, spindle, 231, 254, 276, 288, 431, 445, 
630, 649. 


Turnings spindles bed, 636, 650. 

Turnings, split, another name for banisters or 
drops, 431, 445. 

Turnings, spool, 203, and elsewhere. 

Turnings, square, 432, 447. 

Turnings, table, gate leg, 627, 640. 

Turnings, table leg heavy, 626, 631, 648, 649. 

Turnings, table medium size, 627, 640. 

Turnings, trumpet, 136, 548, 551, and on many 
highboys and lowboys which see. 

Turnings, vase, 322, 330, 494, 498, 502, 507. 

Turnip Foot, see ball feet. 

Turtle-back, see bosses. 


U 


Upholstery, see chairs, seats upholstered; up- 
holstery on day beds, out of place, 4oo. 


V 
Valance, 432, 444. 
Varnish, 431. 
V End, see bootjack, 31. 
Veneer, 135, 136, 141, 164 bottom left, 185; 
veneered table tops, 548, 551, 552, 553. 
Virginia (oak seldom found), 13, 31, 207, 230, 
492, 496. 


W 
Wadsworth, Atheneum, 35, 105, 305, 342, 360, 
466, 576. ; 
Waffle Irons, 303, 317, 641, 652. 
Wagon Construction, 282; Concord wagon, 


282; Conestoga wagon, 282. 

Wagon Seats, 413, 414, 433 bottom, 434 top, 
437 bottom. 

Wag-on-the-wall Clock, 251 bottom right, 260, 
444, 461. 

Wainscot, 281, see chairs wainscot. 

Wall Boxes, 168, 262 bottom right. 

‘Walnut, 26, 99 top, 100 top, 109, 113, 114, 
II5, 116, 119, 125, 157, all, 158, 162, 164 
top and bottom left, 167, 170, 176, 230, 
255, 256, 258 top right, 260, 270, 335, 388, 
400, 418 top, 425, 460, 486, 487, 489, 490, 
491, 492, 495, 496, 497, 498, 499, 501, 502, 
507, 508, 513, 525, 520, 530, 556, 557, 558, 
559 and most lowboys, 595 top right, 638. 

Walnut Applied Drops, Ornaments and Mold- 
ings, I91, 218. 

Walnut Secretary, 158, 179. 

Walpole, 269, 278. 

Warming Pan, 620, 646. 

Warner, Elizabeth, carved name, 46. 

Warping of Furniture, 547. 

Wash Stand not found as distinct from table in 
rth C. 8320" 

Washington, 465. 

Washington Andirons, 443, 456 bottom. 

Waters Estate, ror, 117. 

Wayland, 478. 

Wayside Inn, Sudbury, 194, 611, 616, 650. 

Webb House, 248, 269, 370, 443, 468 bottom, 


514. 

Weil, H. V., 94 bottom, 99 bottom, 123, 124, 
382, 409 right, 579, 581, 583 bottom left, 
593, 605, 696 bottom right. 


INDEX 


Welch, Mrs. Lewis Sheldon, 491, 495. 

Welles, Mr., 443. 

Wellington, Arthur W., collection, 56 bottom, 
92, 132, 153, 168 bottom, 185, 202, 217, 220, 
243, 260, 319 bottom left, 329, 370, 376, 
391 left, 397 left. 

Wentworth, Benning, House, 228, 254, 547. 

Wentworth-Gardner House, 251 bottom left, 
260, 509. 

Westboro, Mass., 578. 

West Chester, Pa., 317. 

Wethersfield, 211, 248, 260, 269, 370, 432, 435, 


443, 468, 514. : 
Wetmore T. T., collection of, 334 bottom 
right, 347. 


Wheeler, Edward C., Jr., collection of, 85, 112, 
141, 168, 185, 220, 237, 238, 240, 253, 260, 
332 bottom right, 342, 346, 347, 350, 352, 
353 right, 355, 357, 358, 359, 362, 364, 365, 
372, 381, 401, 403 top, 422, 535, 536, 537 
top, 539 top, 540, 542, 545, 556 bottom, 557, 
559, 578, 581, 583 bottom right, 594, 676, 
679, 693 top left, 699 bottom right. 

Wheeler Family, 211. 

Wheels, loosely used for rosettes, which see. 

Whetting Iron, 641, 652. 

White, Mary, 211. 

White, Peregrine, 426, 625. 

Whitewood Furniture, portions of, 56 top, 73 
top, 76, 85, 102, 103, 105, 129, 155 left, 175, 
202, 203, 229, 251 right, 258 top right, 270, 
Arp he 

Whittier’s Snow Bound, gro. 

Willard, Simon, 659. 

William and Mary, 401, 450, 629, 640. 

Williams, Fred H., 536, 539 bottom right. 

Williams House, South Easton, 246 bottom, 
264, 536. 

Williamsport, Pa., 667, 672 bottom. 

Windsors, American, author’s work by this 
title, 394. 

Windsor Castle, 659. 

Winslow, Edward, 293. 

Winslow, Kenelm, 19, 32, 206, 431. 

Wood, Franklin T., collection of, 195, 218. 

Wood, fruit, a term for apple or pear. 

Woodbridge, The Rev. B. R., 211. 

Woodbury, Conn., 444, 508, 675. 

Woodenware, 444, 458, 465, 498, 507, 519, 532, 
534. 

Woods, kinds of, see under specific names. _ 

Worcester, Antiquarian Society, 280, 293, 435, 
442, 548, 550. 

Wrentham, Old House, 414, 438 bottom. 

Wrought Iron, text, scattered through work 
also, 651-679. 


X Panels, 27. 


, X Stretcher, 319, 320, see also cross stretcher, 


466, 518 bottom right, 5209, 555 ff. 
VY 


Yale University, 184, 210, 212, 236, 268, 28r1. 
Yarmouth, 200. 

York Jail, 265, 277; bed, 442, 455. 

York, Maine, 148. 

York, Pennsylvania, 502. 


Z 


Zigzag, see molding, zigzag. 














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